DALLAS, TX.- Two questions that drive humanity are straightforward yet profound: Where did we come from, and where are we headed? One of the ways we answer the latter question is by studying the former. As we wonder what tomorrow may look like, we increasingly search our distant and recent past to figure out which aspects of human nature are timeless — which pieces of our ancestors' output make sense to us still. When it comes to the history of civilization, there is a talisman-like seduction in the useful and decorative objects created, by hand, by those who came before us. The works and artifacts made by our progenitors take on increased significance and an even more enduring appeal as we hurtle toward an uncertain tomorrow.

On June 2 Heritage presents an auction packed with gorgeous and historic objects that both veteran and new collectors appreciate as slices of our collective human and regional past. Heritage's Ethnographic Art: American Indian, Pre-Columbian and Tribal Signature ® Auction is shaped by a strong selection of North American Indian jewelry, pottery and weavings, Pre-Columbian gold and jade and African and Oceanic ceremonial and utilitarian objects.

"Heritage is proud to present quality artworks from around the world," says Delia E. Sullivan, Heritage's Director of Ethnographic Art. "We are offering beautiful objects for selective patrons who wish to adorn their homes as well as their bodies. Living with and wearing non-Western art will always pique the curiosity of others!"

A Pre-Columbian highlight of the upcoming auction is a rare Chupicuaro mask from the late pre-Classic period (c. 300 BC-300 AD) out of Guanajuato, Mexico. This buffware work with excellent provenance has the traditional ancient Chupicuaro cross- or step-fret designs characteristic of their large figures and masks, though this one has unique zigzag lines from the bridge of the nose down to the cheek areas, and similar lines from the lower lip down the chin. It is in excellent condition with no apparent repairs or restoration. Pre-Columbian gold is another strength in this event (and an evolving strong suit for Heritage); of special interest is this Cocle (Macaracas) gold pendant of deer heads, via Panama, c. 700-1400 AD. It's a magnificent and heavy casting of gold alloy (tumbaga) with a high gold and silver content depicting two antlered deer heads surmounted by highly stylized crested crocodile heads in profile. A superb Maya jade pendant is another highlight in this category: The circa 600-800 AD piece from Mesoamerica, in excellent condition, is stunning. Made of semi-translucent apple-green jade finely carved and grooved, it depicts a standing deity or person of nobility with a large face with the crossed eyes of the ancient Maya solar deity Kinich Ahau at center, crowned by a headdress. Also Pre-Columbian: a Sican Lambayeque mask from South America c. 750-1350 AD. Recent excavations in the area it comes from imply that such masks were part of the burial regalia of high-status women as well as men. According to ancient myths from this coastal region, silver was associated with noble women, and masks such as this are most likely from the burials of important female leaders or priestesses.

Some of the most significant lots in this event fall into the American Indian wheelhouse, including this Crow/Nez Perce otter skin bow case and quiver, c. 1880. In a letter dated February 8, 1984, Bill Holm, acclaimed curator of the Burke Museum in Seattle, writes about his familiarity with this bowcase and quiver and provides his opinion that it was made from two different bowcase-quiver sets before it left Indian hands. He considered it a very fine example, among the most complete sets known to him. This rare Columbia River figural ladle from the early 19th century is made from a bighorn sheep horn, constructed in a manner similar to a bowl. The carving details that evoke ribs (or bones) on its four-legged creature handle carry shamanic associations. Another American Indian highlight includes a charismatic Yakima beaded hide flat bag made by Cecelia Totus c. 1970. A wily cougar stalks a herd of grazing deer. Totus' work often depicts cougars, and she "signs" her work with a single black bead against a solid ground of a different color; see here the single black bead against the clear beaded ground above the pansy at the top right. Also in this event is an extensive selection of mid-century and contemporary American Indian jewelry, one highlight being a Navajo/Hopi necklace with matching pair of earrings by Jesse Monongya. The delicate and detailed turtles are silver, gold, turquoise, lapis lazuli, coral, malachite, diamond, opal, and spiny oyster shell. Monongya's work is included in major museum collections including the Smithsonian National Museum of the American Indian, the Heard Museum, Northern Arizona Museum, the Denver Art Museum, Cooper-Hewitt Museum, the Museum of Modern Art, and the American Museum of Natural History.

Moving into the Tribal category: The June 2 event showcases an impressive Santa Cruz Islands feast bowl from the Solomon Islands, c. late 19th to early 20th century. Only three of these are known: one in a museum in New Zealand, one in a museum in Australia, and this one. This large and heavy bowl in shape of a female pig was made for feasts and were part of a chief's treasury. This one is carved from a dense hardwood and has a dark brown to black patina from extensive use. Another gem in this section is a Lega figure from the Democratic Republic of Congo, c. 1900. With excellent provenance, this superb rendering of a figure was given to a member of the Lega men's age group (Bwami) upon the completion of an initiation. His face is covered with white kaolin and some animal hide at top for hair; his head projects a little out from the body and is tilted slightly to the left, making for an animated and dynamic figure. It is joined in this event by another work from the Democratic Republic of Congo (c. mid-19th century): a Kuba Wongo ceremonial drinking cup. This is an extraordinary carved wood portrait of a naked Kuba Wongo ancestor —a statesman or chief —his potent fertility and authority represented by his protruding belly and large phallus. He holds his hands behind his back which both emphasizes his physique and shows his restraint and patience in dealing with others. He has traditional scarification marks on his belly, thighs, upper arms, the nape of his neck, and over most of his face, indicating his status and rise to prominence through age-grade initiation rites. Keeping him company in this category and this auction is this Malakula ceremonial puppet from Vanuatu, c. early 20th century. Handheld puppets would mysteriously appear from behind fenced-in enclosures during initiation ceremonies. This puppet's fernwood body and limbs are expressionistically painted with orange, black and white natural earth pigments, and a pair of boars tusks extend up from the corners of his mouth. Embedded at his crown is a headdress of chicken and other domestic bird feathers. A painted earthenware miniature mask is attached to the bottom of the shell.