Apolonia Ancient Art offers ancient Greek, Roman, Egyptian, and Pre-Columbian works of art Apolonia Ancient Art
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1236064
Apolonia Ancient Art
$1,675.00
This lively piece is a black ware Chimu ceramic that dates circa 900-1470 A.D. This piece is approximately 8.8 inches high, and is intact in superb to mint condition. This piece has an even deep black glaze, and has some white calcite deposits which are heavier in the low relief sections of the conical base. The conical base has three registers, which have impressed triangle and square designs, and the square boxes have "step-pyramid" designs seen within. The head of this duck also has a very lively designed eye, and there are two molded legs seen below as well. The designs seen on the conical base are also artistic hallmarks of the Chimu culture, and these designs and type of conical base are typical Chimu attributes. This piece is an exceptional example of Chimu blackware, and is an excellent animal type Chimu ceramic. Ex: Dr. Ernst J. Fischer collection, Germany, circa 1970's. (Note additional documentation is available to the buyer.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : South American : Textiles : Pre 1900 item #1215213
Apolonia Ancient Art
$865.00
This superb piece is a Bolivian textile that dates circa late 19th century, and is approximately 37 inches wide by 42 inches high. This Bolivian "Ahuayo" type textile is woven in alpaca, and is a deep brown color with alternating striped bands in dark green, red, claret, and white colors. There are also four bands that feature white serrated "S-motifs", that run through the length of the piece. This piece is also very analogous in size and color to an example seen in Sotheby's Pre-Columbian Art, New York, May 1986, no. 34. ($800.00-$1,200.00 estimates, $550.00 realized. See attached photo.) The piece offered here is in superb condition, and has no apparent repair/restoration. The colors are also very vibrant, and this piece can be mounted in a clear Plexiglas case which would enhance it's high eye appeal. Ex: Howard Rose collection, New York, circa 1980's. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1198713
Apolonia Ancient Art
Sold
This cute little piece is a Nazca figurine that dates circa 200-500 A.D. This piece is approximately 6 inches high, and is in mint condition with no over paint and/or restoration. This charming piece is a rounded seated figurine with modeled legs and arms and cupped hands. This figure is seen wearing a feathered headdress tied up in a central knot, and has decorative tattoos on each shoulder in the form of a stylized fish (shark?) on the right shoulder, and on the left shoulder, a possible stylized bird image. This piece has a very animated expression, and is seen with a small rounded mouth in the form of a circle, and wide open rounded eyes. This piece is also portrayed as being bare chested, as there are two small rounded red dotted breasts. There is a small spout at the top, and a strap handle at the back. This piece also has vibrant polychrome glaze in beige, brown, black, and cream colors. Ex: Sotheby's Pre-Columbian Art, New York, Nov. 1996, no. 204. ($1,500.00-$2,500.00 estimates, $1,495.00 realized.) Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #824649
Apolonia Ancient Art
$1,375.00
This interesting piece is from the Jama-Coaque culture that lived in the tropical forest coast region of northern Ecuador near the Esmeraldas River. This area is also the region where the Spaniards first encountered the native South Americans. The piece offered here is approximately 10 inches high, dates circa 500 B.C.-500 A.D., and is intact, save for some missing coffee bean ends seen on the headdress and a very small section of the headdress behind the right ear, and this may have been done as this piece was a burial offering. These breaks appear to be very old, as there is wear in the break areas with burial deposits, and this may have been done to break the "mana" and/or magic of the piece for burial. The seated figurine may be a shaman that is seen wearing a headdress, shirt, earrings, and nose ring that are decorated with coffee bean symbols. He also has coffee bean designed eyes and is seen holding a lime pot in his right hand and in his left, a coca pod. (For the type see: "Pre-Columbian Art" by Jose Alcina Franch, Abrams Pub., New York, 1983, no. 595.) There are traces of painted designs seen on the lower legs, headdress, and skirt. This piece has spotty black mineral deposits and some minute root marking. An example and type that is now scarce on the market. Ex: Private Arizona collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1249675
Apolonia Ancient Art
$4,675.00
This extremely rare piece is a Moche seated man that is Moche IV Period, circa 450-550 A.D., and is approximately 8.3 inches high. This interesting piece is intact, save for a filled stress crack in the upper stirrup-handle, and is in superb condition with vibrant dark red, light brown, and cream colors. This piece is a seated Moche man who is dressed with regal ear flares, a wrapped headdress, a dark red back sack, and a cream colored tunic. The individual portrayed here does appear to have some social status in a regal or religious context, as he is seen finely dressed, and he is also seen holding a ceramic in each hand which may point to a ceremonial activity. This individual displays a pronounced facial deformity, which was also held in high regard by the Moche, as this was thought to be a sign from the gods. Special status and sacredness may have been accorded to those who suffered diseases and other physical handicaps. The pronounced deformed face of this individual has skin drawn tight over the bones, and is likely the result of a tropical disease. The Moche were known for their realistic ceramic portraiture, and the piece offered here is a prime example of their skill for realism in portraiture. Moche ceramics that are medical related, and depict individuals with diseases and/or deformities such as this piece, are rare to extremely rare. Another analogous example that portrays a deformed face is seen in "The Spirit of Ancient Peru: Treasures from the Museo Arqueologico Rafael Larco Herrara", Thames and Hudson Pub., by Kathlenn Berrin, San Francisco, 1997, no. 69. (See attached photo. This portrait-head type vessel seen in the Larco Herrara Museum may also be a portrait of the same individual as seen on the ceramic offered here. Both pieces have analogous features and are both Moche IV Period.) The individual seen here with the deformed face and diminutive nose was likely caused by a tropical disease known as Mucocutaneous Leishmaniasis (ML), and this disease is found today in Bolivia, Brazil, and Peru. ML is contracted from a sand fly bite, and subsequently, ML symtoms include painful nodules inside the nose, perforation of the nasel septum, and enlargement of the nose and lips. Untreated, the disease leads to ulcerated lesions and scarring and tissue destruction predominately in the face and extremities which can be disfiguring. (See MedicineNet.com for more information regarding this disease.) The piece seen here likely displays the disease noted above, rather than a battle injury, or a ritualistic mutilation, but whatever the case, this interesting piece is an extremely rare Moche vessel that is seldom seen on the market. Ex: Gayle Grayson Gallery, Chicago, Ill., circa 1980's. Ex: Estate of Daniel J. and Ruth Edelman, Chicago, Ill. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #853880
Apolonia Ancient Art
$4,675.00
This rare vessel is from the Moche culture, that dwelled in modern day northern Peru, dates circa 500-700 A.D. and is from the Moche IV phase of ceramic development. This piece is intact with no repair/restoration, is in superb condition, and is approximately 8.25 inches high. This red-brown and cream colored ceramic is a rare piece, as it is a type of vessel known as a "sacrificial rite vessel". This piece has six figures on the vessel including a Moche standing owl deity seen at the center, a sea lion, a cormorant, a hooded male figure, an ocean skate(?), and a crab. All of the five figures that run around the main body of this stirrup-type vessel are all seen emerging from the background, and may represent their emerging into or from the spirit world. These figures are seen in high relief from the main body of the vessel, as they were individually mold made, and this production process took a great deal of skill and time relative to intregrating these images into the production of this ceramic. The standing owl deity seen at the center, which may also represent a priest in costume, is also the Moche deity that is seen in the "Presentation Theme", which is a Moche ceremony of sacrifice as defined by Christopher Donnan. (See "Moche Art of Peru" by Christopher Donnan, University of California, Los Angeles, CA., 1978, pp.158-174.) This Moche owl deity, seen in the "Presentation Theme" as defined by Donnan which is also identified as "Figure B", is a priest seen in an owl-hooded costume holding a goblet with blood from the sacrifice. There are also other known Moche ceramic vessels that portray this figure, as seen in the work noted above (Nos. 248 and 271.). The owl was sacred to the Moche because of it's night vision and sharp hunting skills at night, and because of their nocturnal nature, they were associated with death and were thought to travel between the living and spirit world. There are examples of Moche ceramics with a captive tied to the back of the owl, and this may represent the owl carrying the captive to the other world. The standing owl, seen in combination with the five figures that run around the main body of this vessel, are all related to Moche ceremony and sacrifice. The active red-brown sea lion depicted on this piece shows several round objects, seen at the front of the eye and on the stomach area, and are round stones that the sea lions frequently cough up when they are hunted. These stones were considered sacred by the Moche and were thought to have extremely powerful medicinal properties. The lively artistic style of the sea lion is exceptional, and has a great deal of expression. The hooded male figure, seen at the front of the vessel, may represent a sacrificial victim. It is interesting to note that one of the owl's feet appear to grip and morph into the hood that is seen on the male figure that is placed just below the body of the owl. The crab is also interesting in that the crab has anthropomorphized human-like eyes. The owl is also thought to represent the "magical flight" ecstatic trance state that was performed by Moche shamans and priests. The owl seen on this vessel also has a human designed eye, and may represent a shaman and/or priest in costume, or is in a state of transformation. (This ecstatic trance state was first described in 1638 by Antonio de la Calancha, in the historical Spanish document "Cornica Moralizada del Orden de San Augustin en el Peru, Con Sucesos Egemplares an esta Monarquia", Barcelona, Spain.) The ceramic offered here may represent the owl as presiding over the Moche sacrifices that are offered to the other world, due to the many attributes of the Moche owl deity as noted above, and as such is known as a "sacrificial rite vessel". (One of the few examples of this type of vessel was offered by Arte Primitivo, New York, June 2005, no. 329, $12,000.00-$15,000.00 estimates. The vessel offered by Arte Primitivo is also red-brown and cream colored, 10.5 inches high, and is Moche IV phase. See attached photo.) Ex: S. Benger collection, Germany, circa 1970's. Ex: G. Hirsch Nachfolger, Pre-Columbian Art Auction 257, Sept. 2008, no. 179. Ex: Private New York collection. (Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1254565
Apolonia Ancient Art
$1,265.00
This interesting piece is a Recuay culture standing warrior that dates to the Early Intermediate Period, circa 400 B.C.-300 A.D., and the Recuay culture was centered in the Northern Peruvian Highlands, Callejon de Huaylas Valley. This piece is approximately 5.8 inches high by 4.2 inches in diameter, and is in intact condition, save for some minor stress cracks that appear to be filled at the base. This piece was made with a "resist-decoration" technique, and is a thin-walled white/cream colored kaolin clay with red-orange, yellow, and black colored line-drawn highlights. This piece also has some attractive light brown burnishing, and some spotty black mineral deposits. This piece shows a very animated figure that appears to be a standing warrior, as he is seen wearing a helmet and probable body armor, which is built into the round and portly design of the main body of the vessel. This figure also appears to be holding some objects in each hand, and the object in his right hand may be a round fruit which he is seen lifting to his wide mouth. The lower legs and feet of this warrior are also designed in high relief at the base of the vessel. This piece also has the typical single spout which is wide and funnel shaped, and is integrated in width and height relative to the head of the warrior, which makes it to be somewhat imperceptible at first glance. It is also likely that the Recuay were a satellite people of the Mochica, and perhaps were guardians of sacrificial llamas and were an elite group of warriors. The ceramic offered here may also have been designed with additional ceramics, which made up a group scene that was created as a ceremonial grave offering. (For the culture and the warrior-type ceramics, see A. Lapiner, "Pre-Columbian Art of South America", New York, 1976, pp. 167-169.) A scarce piece with nice eye appeal. Ex: Dr. Ernst J. Fischer collection, circa 1980's. Note: Additional documentation is available to the purchaser. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #902203
Apolonia Ancient Art
$3,675.00
This extremely rare Mayan carved bottle dates to the early Classic period, circa 300-400 A.D., and is approximately 3 inches high. This piece is intact with no repair/restoration, and is a light brown terracotta with dark brown highlights. This highly important piece is divided into three segments, and as a whole, displays the three Mayan glyphs that represent the "Palenque Triad", gods GI, GII, and GIII. This trio of gods were celebrated as divine ancestors by the kings of Palenque, and this is the principle reason why these three gods have been labeled the "Palenque Triad". The piece offered here may be from the Palenque region, and it is certainly from the Peten region, as the artistic style of the carved glyphs place it in this region which is modern day Belize, Guatemala, and Mexico. The artistic style of the deep carving seen on this piece may even be earlier than circa 300 A.D., and may represent the earliest glyphs that represent these three gods, which would make them late Protoclassic period, circa 200-300 A.D. The GII god glyph, otherwise known as "God K", has elements that are analogous to the Protoclassic glyph seen on Abaj Takalik Stela 5. (See "The Gods and Symbols of Ancient Mexico and The Maya", by Mary Miller and Carl Taube, Thames and Hudson Pub., 1993, p. 131.) GI rarely appears on Mayan painted pottery, and is associated with Venus and the sun, and likely represents one of the Mayan "Hero Twins". He has a shark's tooth, square eyes, scalloped eyebrows, and a shell earflare. GII, known as "God K", "Bolon Dzacab", and the "Flare God" has a forehead with a smoking celt or torch, a mirror head, and serpent-headed foot. This god is associated with the accession of Mayan royalty and royal self-inflicted bloodletting. GIII is associated with the "Baby Jaguar" god, the "Water-lily Jaguar" god, and one of the "Hero Twins". He has a "kin" sign on his cheek or forehead, a squint eye, and a Roman nose. The glyphs seen on the piece offered here all have elements of the above gods that are seen within the glyphs itself, and are seldom seen together on one vessel. In addition, each glyph has a central eye that is denoted with a small incised line design, which is slightly different for each eye seen within the glyph, and this minute incised eye detail was probably the last decorative element that was added to the piece by this skilled Mayan artist/scribe. This piece may also have contained red cinnabar, as traces of this compound are seen within the vessel and some low relief points of the glyphs. The red cinnabar was used by the Maya to preserve the departed, and royal tombs were often coated with this substance. The piece offered here was also hand carved, and a mold was not used to create the design, as is often the case with small Mayan bottles and flasks of this type. This piece is extremely rare, if not unique, and Mayan carved and painted vessels with the complete "Palenque Triad" are seldom seen on the market. Ex: Chuck Warren collection, Miami, Fl. (1970's) Ex: Erasmo Toledo collection, Miami, Fl. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1286571
Apolonia Ancient Art
$2,865.00
This scarce to rare piece is a Mayan terracotta model of a throne, which dates circa 600-900 A.D. This piece is approximately 3.4 inches high, by 6.4 inches long, by 3.2 inches wide. This piece is made from four molded pieces, and the details and images seen on this piece were mold pressed into the terracotta. The front side of this piece shows a facing god figure, who also appears to be supporting the weight of the upper panel. The upper panel also shows two square "mat designs" which each show twelve boxes with a "spiral" symbol within. This "spiral" symbol is likely depicted as meaning "CH'ICH", meaning "blood", and/or "blood offering". This symbol also makes perfect sense for this piece, as this piece may also portray an offering altar, as well as portraying a throne that may have supported a seated figurine. The two holes seen at the top may be for pins to help support a seated figurine, but they may also represent holes that were used to drain the blood from the two panels, and this blood would then drip down below the altar and to the underworld gods below. According to the Mayan belief of blood offerings, each drop of blood would nourish the gods and the earth, ensuring a new abundant maize harvest that would feed the people and provide wealth for the court. If this was the case regarding this piece, then this piece likely is a votive representation of an offering altar where bloody offerings were placed for the gods, and this type of altar may also have doubled as a sacred throne for a Mayan royal personage. The emerging facing god seen at the front of this piece, may be a frontal version of the "War Serpent God", otherwise known as the "Jaguar-Serpent-Bird God". This composite image is primarily associated with warfare, and was a popular image with the Maya at Piedras Negras and Chichen Itza. The image seen on this piece also has feathers above each extened arm, jaguar-paw hands, a double necklace, large round ear-flares, and a nose guard attachment. (For the type of god seen here, see "The Gods and Symbols of Ancient Mexico and the Maya" by Mary Miller and Karl Taube, Thames and Hudson1993, pp. 104-105.) This piece is 100% original, and was repaired from four large fragments. There are also minute black spotty mineral deposits seen in various sections of the piece. This type of votive piece is seldom seen on the market, and also displays a Mayan god that is seldom seen. Ex: Private New York collection, circa 1980's. Ex: Howard Rose collection, New York, circa 1990's. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1239527
Apolonia Ancient Art
$3,275.00
This rare piece is a Salinar/Viru culture monkey "transformation" type vessel that dates circa 400-200 B.C. This piece is approximately 9 inches long by 7 inches high, and is in superb condition with no repair/restoration. This piece is a standing quadruped with a stylized lobed monkey's head, and a short tail is seen curled at the back. This piece is seen standing on sturdy legs, with each flank painted with mythical creatures that have bared fangs and claws. The whole piece is covered with a light yellow-brown slip, and the mythical creatures and facial elements are painted in a light reddish-orange color. This piece is also a "stirrup-handle" type piece that is also designed as a "whistle" type vessel, as it makes a shrill sound when one blows into the raised end of the handle, and as such, this vessel was also likely a "ceremonial" type vessel. In addition, this piece also represents a "transformation" type vessel, as the stylized lobed head on the monkey has human and animal features. This rare early Andean culture ceramic may also be a prototype for the subsequent Moche I ceramics, and as such, this type of piece set the standard for Andean ceramics that have a great deal of realism regarding both human and animal representations. This piece also has some spotty light brown mineral deposits, and is a superb example for the type that is seldom seen on the market. Another analogous example of this culture is seen in Lempertz Pre-Columbian Art, Brussels, Jan. 2010, no. 49. (See attached photo. The Lempertz example also has an analogous painted mythical creature on the flanks as the piece offered here, and both of these pieces may have been produced in the same workshop.) This type of piece is x-rare to rare, and has a high degree of eye appeal. Ex: Dr. Ernst J. Fischer collection, Germany, circa 1980's. Ex: Auktion Ketterer 163, 1986. Ex: Private German collection. Note: Additional documentation is available for the purchaser, including a TL test from Gutachten Lab., 01/14/1991, no. 369012. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #905917
Apolonia Ancient Art
$765.00
This dramatic piece is from the La Tolita culture that is from northern Ecuador, Esmeraldas region. The La Tolita culture takes its name from a famous site that is located on an island at the mouth of the Santiago River. This superb piece dates circa 400 B.C.-300 A.D., is a light brown terracotta, and is approximately 3.75 inches high by 4 inches wide. This piece is a mask that depicts a simian and/or shaman, and the expression is quite dramatic, as the fine detail of the teeth and nose is easily seen. What makes this mask so interesting is that this mask may represent a simian in a state of transformation, from animal to man, or vice-versa, and it may also represent a shaman with a mask who is seen representing this state of being. This transformation may also have been drug induced, as this culure was known to have used drugs in ceremony. This mask is also votive, and may have served as a spirit mask for a mummy bundle or effigy. There are several holes that run around the edge of this piece that may have been used for attachment. This piece is intact, and has no repair/restoration. There is also some original light white paint that is seen in some of the sections of this piece, along with some spotty dark black/brown mineral deposits. This piece is better than most examples that have been on the market, and is analogous to the example seen in the Museo Arqueologico y Galerias de Arte del Banco Central de Ecuador, Quito. (See "Pre-Columbian Art" by Jose Alcina Franch, Abrams Pub., New York, 1983, p. 432, no. 573.) This piece comes with a custom black plexiglas stand, and can easily be removed, as the mask simply hangs from a pin. Ex: Peter Hacintos collection, New York. Ex: Private Florida collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1044364
Apolonia Ancient Art
$2,875.00
This visually appealing piece is a large Mayan cylinder vessel that dates circa 400-600 A.D. This piece is approximately 8.5 inches high by 6.9 inches in diameter, is intact with no repair and/or restoration, and sits on four legs that are attached to the bottom base. This piece is a bright orange and black-line polychrome ceramic, which has a "square-cubed" geometric pattern that runs around the entire outer surface. This pattern is likely an imitation of a basket weave pattern, or possibly a textile pattern. Mayan artists also relished imitation of one material with another, particularly in painted media that we read as "trompe l' oeil", in which the eye is tricked, and in the case of the piece offered here, the surface was painted in such a way as to make the observer see woven basketry. In addition, and according to Herbert J. Spinden in "A Study of Mayan Art, Its Subject Matter & Historical Development", Dover Pub., New York, 1975, page 147: "Simple basket weavings appear as painted ornamentation on potsherds from the Uloa Valley (Fig. 204). Complicated braided patterns are common as the rim decoration on pottery from this region, and may have had their origin in the imitation of wicker-work basketry. It is probable that basketry was not of much importance as an art among the Maya, owing to the high development of ceramics." This piece has some heavy spotty black manganese deposits and root marking, which is mainly seen on the bottom and at the bottom edge of the vessel. This piece has some minor minute glaze loss, but overall, it is in extremely fine condition. This piece is also from the Salvador/Honduran region, as the orange and black colors are common for the region, but the type of geometric "square-cubed" pattern that is seen running around the entire vessel is not common, and is a scarce design. This large piece is interesting, has a high degree of eye appeal, and is scarce in this condition with its vibrant color. Ex: C.W. Slagle collection, Scottsdale, AZ., circa 1980's. Ex: Private FL. collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Stone : Pre AD 1000 item #1261165
Apolonia Ancient Art
$1,675.00
This attractive piece is an Olmec stone celt/ax that dates circa 1200-550 B.C. This piece is approximately 6.4 inches high by 3.5 inches wide. This intact piece has beautiful dark-green, blue, and white colors, some dark brown mineral deposits seen in the low relief sections of the piece, and some minute spotty black mineral deposits that are seen on all of the outer surfaces. This trapezoidal shaped piece has a nice semi-sharp blade, seen at the top of the piece, and the bottom tip of the bottom base is unfinished, as this is the original outer edge of the stone from which this piece was formed. This piece also has an esoteric slight bend that runs through the length of the main body, and perhaps this was done to make this piece resemble an ear of corn that is seen peeling away from the central cob. The Olmec were also known to have this type of piece worn on a belt, and the wearer doubled as the Olmec "Maize God", who was meant to represent the central cob of a maize ear. According to Karl Taube in "Olmec Art at Dumbarton Oaks, Library of Congress Pub., 2004, p. 129: "But, for the Middle Formative Olmec, the key plant was maize, the ear of which, in its very form, resembles a green stone celt. With their broad, curving bits and narrow polls, the outlines of Olmec celts are so similar to Olmec representations of maize that it is frequently difficult to distinguish them. Moreover, much as maize seed is prepared on the stone metate, celts and other jade artifacts were surely ground and polished on flat stone surfaces. Through the process of grinding, both maize food and finished jade are created." This type of piece was valued by the Olmec for its beautiful color, as this piece was very labor extensive to produce, and this intensive grinding and polishing resulted in a highly glossy surface which still can be seen with this piece today. This type of piece was also traded widely by the Olmec, and may also have represented a set value of wealth. This attractive piece also comes with a custom black metal stand, and simply slides down into the stand. Ex: William Freeman estate, New Mexico, circa 1960's-1980's. Ex: Private AZ. collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1178207
Apolonia Ancient Art
$2,865.00
This piece is a Moche ceramic stirrup-jar that dates circa 450-600 A.D., Moche IV-V periods. This interesting piece is approximately 9.75 inches high, and is intact with no repair/restoration. This piece has some minute black spotty mineral deposits, and has some light brown burnishing. This piece has light orange/red highlights over a cream colored background, and is a very detailed Moche fineline ceramic. This lively piece shows two detailed and animated "Strombus Monsters", which are seen facing right and are seen on each side of the vessel. These composite creatures are seen wearing a conch shell, from which they are seen emerging, and they display a lively open mouthed pose. These creatures have a striped pelage, a tapering tail, a long-spined main that runs down the length of it's back, and four legs with claws. There are also three eyes that extend from the front of the head. According to Christopher Donnan in "Moche Art of Peru", University of California, Los Angeles, CA., 1978, p.63: "On the snout of the monster are antenna-like objects clearly derived from the land snail. There is a likely explanation for the combination of features on this animal. Since conch shells (Strombus galeatus) were imported from Ecuador, the Moche people probably never saw the creature living inside. They may, however, have made an analogy between the creature they thought inhabited the conch shell and the land snail, which is native to the north coast of Peru." There is an analogous comparable to this vessel that is seen in Sotheby's New York, Arts of Africa, Oceania & the Americas, May 2003, no. 207. ($4,000.00-$6,000.00 estimates.) Ex: Private German collection, circa 1970's. Ex: Dr. Klaus Maria collection, circa 1978-2012. (Note: Additional documentation is available to the purchaser, including a TL document from Gutachten Lab., no. 7579125, dated 11/19/1979.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1262510
Apolonia Ancient Art
$3,675.00
This interesting piece is a Mayan cylinder vessel that dates circa 600-900 A.D. This piece is approximately 9 inches high by 5.8 inches in diameter, and measures 8.75 inches, from the tip of the vulture head to the other tip of the vulture head seen on the opposite side of the vessel. This attractive piece has nice root marking, and some minute black spotty mineral deposits seen on all of the surfaces of the vessel. This piece is also a scarce type with the two extended vulture heads which are seen on opposite sides of the vessel, and the more common vessel of this type, has extended monkey heads. (See attached photo for the monkey head type. This piece is seen in the Museum of Anthropology and History, San Pedro Sula, Honduras and is published in "I Maya di Copan", Skira Pub., Milan, Italy, 1997, page 139, no. 34.) This vessel offered here is intact, and has some very minor stress crack fill which is very difficult to see. This piece has vibrant dark red, black, cream, and orange colors that are seen on the entire outer surface of the piece. The prominent feature of this piece are the two red-headed vulture heads that are seen emerging from each side of the vessel, and their wings and body are stylistically represented below each head on each side of the vessel. These emerging vulture heads are each a vibrant dark red color, which matches the color of this living bird, and these emerging heads also act as handles for this vessel, but this is likely not the primary function of these heads. It's more likely that the Mayan artist wished to emphasize the importance of the vulture in Mayan myth, and created a three-D image of the creature that seems to emerge from the vessel and appears to be alive. There are also two bands that run around the piece, and are seen at the top and bottom section of the vessel. The top band has two boxes, one placed between each vulture head, and within each box is what appears to be another stylized vulture bust showing a section of the wings and head. The bottom band has a red geometric box seen below each stylized vulture body on each side, and there is an identical stylized vulture bust placed between each geometric box. There is also a red line, seen on each side, that acts as dividing line for each side showing the emerging vulture head and painted stylized body. The vulture for the Maya was observed as a death eater. As a consumer of death, the Maya also felt that the vulture could convert death to life, and the vulture was viewed as a symbol of cleansing, renewal, and transformation. As a symbol of renewed life, this type of vessel was likely a Mayan offering vessel that contained a grave good for the afterlife. Ex: William Freeman estate, New Mexico, circa 1960's-1980's. Ex: Private AZ. collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1276371
Apolonia Ancient Art
$8,675.00
This extra large Mayan tripod plate dates circa 600-900 A.D., and is approximately 15.75 inches in diameter by 4 inches high. This piece has been attributed to the Peten region of the Yucatan Peninsula, and is an exceptional example for the type. This appealing piece has very vibrant dark orange/red, white, black, and light blue/gray colors. This piece has three legs, along with an esoteric upward sloping bowl which has the multi-colored polychrome glaze on the top inner side of the vessel, and a light brown terracotta on the underside of the vessel. This piece has a "serpent band" that is seen running around the inner edge of the plate, and this has two symbols that alternate and appear to interlock within the design. These symbols may be celestial in nature, and frame the Mayan cartouche glyph that is seen in the field in the center of the plate. This Mayan cartouche glyph also has an inner central glyph, which resembles a face with an open mouth. This glyph is the Mayan glyph "Ajaw", meaning "lord". According to Dr. Mark Van Stone, Professor of Art History, Southwestern College, and noted Maya expert specializing in Mayan hieroglyphs and calligraphy, who also co-authored the book "Reading the Maya Glyphs", commented the following regarding this piece: "Now, that date in the center is pretty unusal. It recalls the Ajaw Alters we find at Caracol and some other sites: a round alter with a text encircling a huge Ajaw date, which marks the "name" (the last day) of a "Period Ending" (usually a K'atun-end). It is a normal "Ajaw" day sign in its normal cartouche, surmounted by a numeral 13, to read "13 Ajaw", a date of important augury, as 13 was the number with the most power, and a period-ending on "13 Ajaw" was really significant. (It was the date chosen by Carl Johan Calleman for his calculation of the "End of the World"-11th Oct. 2011, in contrast to the more popular "4 Ajaw PE"-21st Dec. 2012.) In any event, it's perfectly legible, and the kind of thing that would be learned first by a student scribe." This scarce to rare piece has a cartouche date glyph that is a marker to an important event, and/or refers to an event in the Mayan calendar, and the cartouche date glyph seen on this piece is a significant example, as noted above by Dr. Mark Van Stone. The number "13", associated with the cartouche date glyph, is easily seen and represented by two bars and three dots that are attached to the top of the cartouche date glyph. This piece has some minor repair/crack fill from three large fragments, and is 99-100% original. There is also some attractive root marking seen in various sections of the piece, along with some minute black spotty mineral deposits. This piece is a large and rare Mayan plate with extremely rare symbols and is seldom seen on the market. Ex: Private German collection, circa 1970's. A TL authenticity test is available from Gutachten Lab, Germany, no. 18611, dated Jan. 7th, 1986. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Stone : Pre AD 1000 item #812519
Apolonia Ancient Art
$6,875.00
This dramatic "power" type piece dates circa 200-500 A.D., and is from the Peten region of the Yucatan Peninsula, which is Guatemala/southern Mexico. This exceptional piece is a Mayan green stone mask that likely was a pectoral that served as the central element in a ceremonial necklace. This piece is approximately 3.5 inches wide by 4.8 inches high, is a complete example with no repair and/or breaks, and is in superb condition save for some minor roughness at the back top. This green stone mask may be fuchsite or a diopside, as there are attractive (mica?) speckled silver inclusions that are readily seen within the stone. There are also light brown mineral deposits seen on sections of the outer surface, and dark brown mineral deposits seen in most of the lower relief sections of this piece. The Maya highly valued this type of green stone, and there are few authentic ancient Mayan green stone objects carved made from this material, and as such, this piece is rare to extremely rare . This piece was valued highly enough in that it was placed as the central component in a ceremonial necklace, and there is a bow drilled hole on each side of this mask that held it in place within the necklace. In addition, the eyes and mouth were formed into the stone by a "pecking" technique, and the back side of this piece has a concave surface. (For an anlogous designed necklace made from a similiar type green stone see "Maya" by Peter Schmidt, Ed., Rizzoli Pub., Venice, Italy, 1998, no. 140. This piece is also seen in the Museo National de Antropologia in Mexico City, Inv. no. 10-000220.) Carved green stone objects, such as the extremely rare piece offered here, were highly valued by the Maya and reinforced the high rank of individuals wearing them. In the Classic period, green stone objects and beads made for the Mayan elite actually achieved the status of "money", such was the importance and acceptance of these objects. One principle reason for this was that these green stones are the same color as sprouting maize, which represented life on earth and eternal life in the spirit world. Sacred Mayan green stone objects were passed down from generation to generation, placed in sacrificial caches, and used as grave offerings. The pectoral mask offered here is also interesting in that the design of the face resembles the Mayan hieroglyph "ahau", meaning "lord", as it is written in its simplest form. There are also many forms of this common Mayan "lord" glyph, and this "lord" glyph evolved over time, but the form of the piece offered here is closest to the simple "lord" glyph seen during the Classical period, which is also the period that this piece was produced. Both the simple "lord" glyph and the piece offered here have rounded eyes and mouth, thick lips that run around the mouth opening, and two vertical lines that run from the upper lip to the forehead that form the design of the nose and the face of the glyph. (For this theory and a chart of line drawings relative to the evolution of the "Ahau" glyph see "The Stylistic History of the Mayan Hieroglyphs", by Dr. Hermann Beyer, Tulane University Pub., New Orleans, 1932.) The fact that this mask resembles the Mayan simple "lord" glyph is not surprising, as it was probably an important Mayan lord that wore this piece in ceremony and perhaps even in death, and as such, this piece can be considered an important "power" type object. This piece is mounted on a custom metal base and can easily be removed. This piece has also been authenticated by examined in great deatil by Mr. Robert Sonin and Mr. David Joralemon in New York. Ex: Martin Falk collection, Long Island, New York (acquired circa 1960's.). Ex: Arte Primitivo, Fine Pre-Columbian Auction, New York, Auction 46, no.125. Ex: Private French collection. (Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1181942
Apolonia Ancient Art
$3,275.00
This interesting and lively Moche ceramic dates circa 300-500 A.D., Moche III-IV periods. This mint quality piece is approximately 9.25 inches high, and is in intact condition with vibrant dark red and cream colors. This piece also has some attractive light brown burnishing, and minute root marking seen on the upper end of the spout and near the lower base of the vessel. This piece has a lively running deer, seen on each side of the vessel, and each deer faces a central dividing "double-bar" symbol which is seen at the front of the piece. This "double-bar" symbol may also represent a sacrificial "tumi", but more likely it simply is a "tie symbol", with a rope and/or cloth tied around the neck of the vessel. According to Elizabeth Benson in "Death-Associated Figures on Mochica Pottery", published in "Death and the Afterlife in Pre-Columbian Art", Washington D.C., 1973, p. 108: "The tie seems to be symbolic of offering or scarifice; I believe that tying is an integral part of the funerary ritual, and that the jar with the rope around the neck is the purest funerary symbol. The tied jar is perhaps in some way equivalent to the prisoner figure or the sacrificial limb or head". The dark red lively running deer are seen against a cream background, and are vibrantly portrayed with an upturned tail, a "floral-leaf" designed ear, an antler reaching forward at the top of the head, and a protruding hanging tongue. This piece also has a conical projection from the the top of the vessel, along with a seated frog that is seen centered at the top within a red fineline petal design, and the conical projection has an attached red stirrup handle seen on the side. This conical projection may represent a Moche ceremonial sacrificial club, as it is very analogous in shape to the terminal end of a wooden ceremonial sacrificial club that was found in Tomb I, Platform II, Huaca de la Luna, Peru. (See "Moche Art and Archaeology in Ancient Peru", National Gallery of Art, Washington D.C., Yale University Press, 2001, pp. 96-97, fig. 10. See attached photo.) The ceremonial sacrificial club also is associated with the "tie symbol" and the lively running deer seen on this vessel, as they may represent deer that are portrayed as being part of a Moche ceremonial deer hunt. According to Christopher Donnan in "Deer Hunting and Combat", seen in "The Spirit of Ancient Peru", Thames and Hudson, 1997, p. 54-55: "Deer are known to run with their tongues hanging out the sides of their mouths. No other animal in Moche art is shown in this way. Deer are known to run with their tongues out when they are winded or tired, and the artists may have intended to show them in this state. Moreover, when a deer is killed, the tongue will often drop out the side of the mouth through a gap that exists between the deer's incisor and molor teeth. In Moche deer hunting scenes, hunters consistently wear elaborate clothing, headdresses, and ornaments-attire that is altogether unsuited to the stalking and killing of deer. To understand why they are dressed this way, it is useful to consider the ethnohistoric records describing the great hunts practiced by the Inca. The best account is of a hunt held by the Inca ruler, Manco Inca, near the valley of Jauja in honor of Francisco Pizarro around 1536. On that occasion, 10,000 Indians formed a ring around an area 30 to 60 miles in circumference. They then closed toward the center, driving all the animals in the area before them, and forming several concentric rings as their circle grew smaller. When the circle was small enough, designated hunters entered it and killed as many animals as was desired." It's also quite possible that the deer seen on this vessel are portrayed at the point when they were ceremoniously killed, and that they were killed primarily for their blood for it's use in ceremony. In addition, the "floral-leaf" designed ear may also represent a deer's ear that has been engorged with blood from stressed running. The Moche placed a great deal of importance to the deer hunt, and the piece offered here shows artistic features that point to this fact. This mint quality piece is a scarce example of Moche fineline ceramics, and is seldom seen on the market. Ex: Private German collection, circa 1970's. Ex: Dr. Klaus Maria collection, circa 1980-2012. (Note: Additional documentation is available to the purchaser, including a TL test document from Gutachten Lab, no. 279006, dated July 6th, 1990.) I certify that this piece is authentic as to date, culture, and condition: