carved with the vivid and contrasting images of life and death, one side with the youthful figure resting hands on the chest, the cupped right hand possibly once holding an implement, with large sunken cavity at the heart, the relaxed face with soft mouth and rounded eyes, and wearing a thick loincloth and tall peaked headdress with wide headband, the skeletal figure on the reverse with fleshless jaw exposing teeth, bulging eyes and curving cheekbones, the exposed ribs enclosing the oval heart, and arms hanging loosely by the side, wearing a similar peaked headdress against the fanning pleated paper headdress behind. 

Robert Stolper
European private collection, acquired from the above in early 1960's, (Sotheby's, New York, November 22, 1999, lot 172)
Acquired by the present owner from the above auction

Overall the figure appears intact as shown with areas worn and some old knicks. The stone is showing numerous areas of weathering cracks, all which appear to be stable. The figure is set into a 24 in high base, and the tenon of the figure sits within this. Details include Human figure side: cracks on PL arm extending to the 'heart' recess, old wear and loss to figure's nose on the PL nostril some old loss and wear on PL ear flange as shown Skeletal side: cracks on horizontal headband , crack on PR wrist , some old loss on lower jaw of the skeletal mouth, two small patches of gray fill on skeletal figures lower legs.
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 relationship between life and death, displayed in this dramatic figure, is a prominent theme in Huastec sculpture.  
The Huastecs were linguistically related to the Maya, although they remained a separate people living along the northern Gulf Coast of Mexico. By 1000 AD the Huastecs were encountering the aggressive Nahuatl speakers from the Central highlands and El Tajin region. Large sandstone figures such as the one offered here, are a distinct artistic manifestion of the militaristic groups which gathered in the Gulf Coast area in the Early Postclassic era. These hieratic male and female figures were placed on tenoned bases and adorned public areas. 

A well known Life/Death figure at the Brooklyn Museum portrays the wind god Ehecatl-Quetzalcoatl (Brooklyn Museum 37.2897PA). The figure shows a similarly cupped right hand for holding an implement and the tapered headdress with pleated paper, both important markers of elite insigna and considered one of the emblems of Quetzalcoatl. The semicircular headdress is referred to as " ... the quintessential Huastec ceremonial accoutrement, visual affirmation of high status, rulership or divinity. " (Wilkerson 2010:227-228).
It has been suggested that the skeletal figures are sacred ancestors being carried on the backs of religious rulers or officials, a rite described as 'teomama' by the Aztecs (Koontz). The bones of ancient ones were carried in cloth bundles, here opened and attached in apron style. As Jill Furst notes, bones retained a special regenerative power in Mesoamerican mythology-- Quetzacoatl travels to the Underworld to collect bones to make new people; in the Popul Vuh it is the skeletal head of Hun Hunahpu that impregnates the young maiden. Furst comments "...some if not all skeletal figures were the antithesis of death gods. Indeed they were deities with regenerative and life-sustaining functions." (Furst 1982:222).
Of note on our figure is the reversed placement of the heart, shown as a vacant recess on the human figure, and as a plump alive element on the skeletal side, reinforcing the fluidity and connectedness of the life/death cyle.
See Fuente and Solana (1980:pls CCLVIII,) for the Brooklyn Museum figure, and for the distinct headdress elements, ibid: pg. 68-71, and 123.