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 : Stone : Pre AD 1000 item #1027901
Apolonia Ancient Art
$1,265.00
This interesting piece is a carved jade pendant that is from the Costa Rican region, and dates circa 300 B.C.-500 A.D. This piece is approximately 1.5 inches high, and is part of a complete "axe-god" pendant. This piece likely formed a complete piece that was approximately 4.25 to 4.5 inches high, and may have been string cut into three near equal sections. This beautiful dark green jade piece is the upper section of a complete pendant, and is in the form of an avian head. The dark green color is even throughout the entire piece, and is from a high quality section of the stone from which it was cut. This detailed jade head has superb workmanship, and has bow drilled eyes, wing design cuts seen on each side, and a bow drilled hole through the side which the wearer was able to use in order to suspend this piece as a pendant. This piece was worn by the elite as a "power" type piece, and appears to represent either parrots or owls as emphasized by the tufts as seen at the top of the head. This piece is analogous to two examples that are seen in "Precolumbian Art of Costa Rica", Detroit Institute of Art, Abrams Pub., 1981, no.24 and 26. (See attached photos.) This piece also has an unpolished "septum" that is seen at the back of this piece, and was a result of string cutting a stone into three seperate pieces in order to produce three pendants. (For this manufacturing process see, "Precolumbian Jade" by Frederick W. Lange, University of Utah Press, 1993, pp.270-274.) This piece also has some spotty light brown surface deposits that are seen in several low relief points of the piece. This piece is rare, as it was a segment from a complete "ax-god", and this complete and sacred "ax-god" was likely cut into three segments so that each piece could have been given to family members of the prior owner. The piece offered here, subsequently became a votive grave offering, and the "power" of this piece passed from one generation to another. This type of segmented votive piece was also known to have occurred with the Olmec, as evidenced by Olmec hard stone pieces that are published in "The Olmec World, Ritual and Rulership", Princeton University, Abrams Inc. Pub., 1995, nos. 158 and 159. (The pieces illustrated are both jade masks that were string cut and/or broken into a section, and was then reworked and repolished. It is unknown whether these masks were broken accidentally or for a ritual purpose, but what is known, these pieces were valued as they were reworked and repolished. See attached photos.) The rare votive piece offered here was also reworked and repolished afer it was cut at the bottom, and this type of votive piece is seldom seen in the market, or in private/public collections. This piece is a superb example of Costa Rican jade. This piece is mounted on a custom stand and can easily be removed. This piece can also be easily worn on a cord as well. Ex: Private Mass. collection. Ex: Arte Xibalba, Osprey, Fl. 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 #1047632
Apolonia Ancient Art
$965.00
This cute piece is a Colima standing warrior that dates circa 150 B.C.-250 A.D. This piece is approximately 5.5 inches high and is intact, with no apparent repair and/or restoration. This piece is a light red/orange terracotta, and has some minute dark black spotty dendrite deposits. This piece is also a whistle, with an opening at the top and at the back of the hollowed head. The whistle is well made, and makes quite a sharp high-pitched tone. This piece was likely ceremonial, and may have been part of a group ceremony. This type of piece is also known as a "protector" type piece, and is thought to protect the deceased in the afterlife. The standing warrior seen here is nude, and is seen holding the full body length shield with both hands. The shield is leaning against the upper body of the warrior, and only the upper half of his face/head is seen peeking above the upper end of the shield. The design of the curved shield protects a great deal of his body, and it is probable that this stance illustrates the type of warfare that was conducted by the ancient Colima. It is unknown if he is part of a shield wall with many warriors, as was the case of the phalanx formation that was deployed by the ancient Greeks, or if he is simply depicted as an individual warrior in combat. The warrior is also seen wearing a turkey tail feather crest/helmet, and this makes him seem larger than life and more imposing. (A turkey whistle with analogous designed tail feathers, as the crest design seen here, is seen in "Sculpture of Ancient West Mexico" by Michael Kan, Los Angeles County Art Museum, 1989, no.169.) An interesting piece that has a high degree of eye appeal. Ex: Yvette Arnold collection, Dallas, Texas, circa 1970'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 : Pottery : Pre AD 1000 item #1177714
Apolonia Ancient Art
$3,675.00
This extremely rare piece is a Moche blackware ceramic that dates circa 100 B.C.-200 A.D., Moche 1-II periods. This piece is approximately 6.75 inches high by 5.6 inches wide. This Moche ceramic is an early blackware example, and has a solid black/brown glaze over a light brown terracotta. This piece is in the form of a manta ray, and is seen in an upright position with its wings and tail section acting as support legs. This upright design allows the viewer to see a raised head that has anthropomorphic features, such as an open round eye at each side of the head, an open mouth seen where the gills of the manta ray would have been seen, and nostrils above the mouth. The gills of the manta ray are also seen below the mouth area and between the extended wings that form a base for the piece. In addition, the gills of the manta ray seem to emphasize the anthropomorphic head just seen above, and this anthropomorphic head is likely depicted morphing into a full human head, or vice-versa, from a human into a manta ray. The anthrpomorphic head seen on this piece is also enlarged, and according to Christopher Donnan in "Moche art of Peru", University of California, Los Angeles, CA., 1978, p.30: "Depiction of humans or anthropomorphized creatures involves a standard enlargement of the hands and heads. Sexual organs may also be enlarged for emphasis, although normally they are small relative to the size of the body, or are simply not indicated." The x-rare piece offered here has attractive and extensive root marking, has some minute spotty black mineral deposits, and is intact with no repair/restoration. Another extremely rare Moche manta ray ceramic type of nearly the same size of the piece offered here is seen in the Larco Museum Collection, Lima, Peru. (See attached photo. The Larco example is not a blackware piece, and has extended wings with a human face seen underneath.) The piece offered here is seldom seen in many old collections, and this is an excellent indicator that this piece is an extremely rare type. Ex: Galerie Arte Andino, Munich, Germany, circa 1980-1986. Ex: Dr. Klaus Maria collection, circa 1986-2012. (Note: Additional documentation is available to the purchaser, including a TL test from Gutachten Lab., no. 638646, dated Dec. 5th, 1986.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre 1492 item #1185287
Apolonia Ancient Art
$1,675.00
This attractive piece is an Inka-Chimu canteen vessel that dates circa 1450-1533 A.D. This piece is approxiamtely 8.5 inches high by 3.5 inches wide, and is in mint to superb condition with no repair/restoration. This piece has an attractive glossy black glaze with some dark brown burnishing. This piece has an indented depression on each side, and seen centered within, is a star and a spiral symbol on each side of the vessel. The star is a well known Inka symbol, and is often seen as a design shape on Inka bronze mace heads and black basalt bowls. The spiral design is also seen as a Nazca line symbol, and these line symbols created in the desert were constructed by the Nazca to have been viewed by the Gods from the air. The Nazca spiral design may have served as a "water/rain symbol", and the canteen vessel offered here may have held water in a votive capacity as well. (An analogous Nazca spiral symbol is seen published in "The Mystery On the Desert" by Maria Reiche, pub. 1949, reprint 1968.) The piece offered here was also likely made by Chimu potters who simply continued working for their Inka masters who conquered their city state of Chanchan circa 1470 A.D. The piece offered here derives from earlier Chimu pottery types/techniques, notably the lustrous blackware made by the north-coast potters of Chanchan and Lambayaque. One feature of these Chimu potters, seen on the vessel offered here, is the single elongated neck of the vessel. This piece is an interesting example of Andean pre-Columbian art, as it has symbols that are common to several cultures, and has a very esoteric shape which is another hallmark of Inka ceramics. Ex: Private German collection, circa 1970's. Ex: Dr. Klaus Maria collection, circa 1980-2012. (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 : Metalwork : Pre 1492 item #1242679
Apolonia Ancient Art
$4,265.00
This scarce piece is a Chimu/Inka culture silver mask that dates circa 1300-1532 A.D. This piece is approximately 8 inches wide by 6.9 inches high by 1 inch deep. This appealing designed piece is intact, save for some minor stress cracks seen in the lower nose section, and is complete with no restoration/repair. This piece has a nice dark gray patina with some minute spotty black mineral deposits, and thick dark/light brown mineral deposits are seen on the back side of this piece. This piece was also hand beaten from a single silver sheet, and there are punched cheek, nose, and mouth details. There are also two punched horizontal shaped eye holes, and two holes on each side which were used to tie this powerfully primitive designed piece to a textile shrouded mummy bundle. This piece also has very little bend, and also served as a solid cover for the mummy bundle. The primitive design of this piece may also have been designed to represent the departed in the spirit world, and also served to protect the mummy. This piece is also the normal size for a piece of this type, and another scarce piece of this type classified as Chimu culture is seen in "Peru, Durch Die Jahrtausende", Verlag Aurel Bongers KG, Recklinghausen 1984, Austria, Kat.-Nr. 11.67, Linden-Museum, Stuttgart, Museum no. M 31 059. (The Stuttgart example is approximately 8 inches high and has analogous punched out eye holes, and punched nose and facial details. See attached photo.) The piece offered here is a powerfully primitive designed facial image that defines the essence of Pre-Columbian Andean art. This striking piece also comes with a custom shadow box, and can easily be removed, as it is mounted within with removable plastic tabs. Ex: Auktion Ketterer 149, Lot 371, Zurich, circa 1990. Ex: Dr. Ernst J. Fischer collection. Ex: Private German collection. 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 #1215119
Apolonia Ancient Art
$1,865.00
This piece is a Mayan terracotta that dates from the Late Classic period, circa 600-900 A.D., and is approximately 6 inches high by 7.5 inches wide by 4.5 inches deep. This piece has powerful eye appeal, as it shows the Mexican rain god Tlaloc with large round eyes, scrolled upper lip, and exposed tooth row. This piece is a very large applique that was part of a extremely large vessel which may have had several of these applied appliques that ran around the outside of the vessel. There is original white pigment seen over the exposed teeth and round eyes, root marking seen in sections of the piece, and there are light brown and gray earthen deposits seen over the entire piece. The condition of this piece is intact, with little apparent crack fill, and this piece appears to have broken cleanly away from the main body of the vessel. A wall section of this large vessel also forms the backside of the piece offered here. The mix of Mexican and Mayan motifs in the Late Classic period is not uncommon, and another example of a Mayan terracotta with the Mexican rain god Tlaloc can be seen in "Pre-Columbian Art: The Morton D. May and The Saint Louis Art Museum Collections" by Lee Parsons, New York, 1980, no. 318, p. 205. The Mexican rain god Tlaloc has also appeared since the Early Classic period in the Maya zone, and is often related to scenes of "autosacrifice" involving the nobility, in which they self extract and offer their own blood. This "blood letting ceremony", as an offering to the gods, is also a metaphor for rain, although the Maya had their own rain deity, Chaac. The piece offered here may also have been part of a large ceremonial blood letting vessel. In relation to the letting of blood, the Tlaloc deity also appears on war shields, as seen on Mayan terracotta figures. This piece is scarce to rare, and sits on a custom black metal stand. Ex: E. Duncan collection, Stilwell, Kansas, 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 #1207767
Apolonia Ancient Art
$4,675.00
This scarce Pre-Columbian piece is a Mayan cylinder vessel that dates Late Classic, circa 550-950 A.D. This attractive piece is approximately 7 inches high by 4.9 inches in diameter. This superb to mint quality vessel is a "Molded Orangeware Vessel", El Salvador region, that has mold made impressions seen within two box-shaped fields seen on each side of the vessel. Each box-shaped field has a standing Mayan priest/dignitary holding an elongated rectangular object in his extended right hand, and the other panel shows this rectangular object hanging on the right elbow of this standing individual. This standing Mayan priest/dignitary is also seen within both panels with his head placed within a raptorial beaked bird, which may represent a sacred "Moan Bird", and this raptorial beaked bird is likely a ceremonial headdress. This individual is also seen wearing royal ear flares and bracelets, has a water-lily emerging from his lips, and is wearing a sashed lioncloth. There is also a stippled woven mat pattern seen in the background, and the overall composition on both panels have very sharp details and is better than most examples. In addition, each panel shows this standing individual in a slightly different position, and this design conveys a slight movement of this individual, as one views this exceptional piece from panel to panel. This convention of art relative to Mayan ceramics, is generally seen on scarce to rare Mayan molded vessels of this type. This intact piece also has some attractive light gray burnishing, some minute root marking, and spotty dotted black mineral deposits. An analogous example is seen in Sotheby's Pre-Columbian Art, New York, Nov. 24, 1986, no. 127. ($1,500.00-$2,500.00 estimates, $2,750.00 realized. See attached photo.) Ex: Private CA. collection, circa 1980's. Ex: Private CA. 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 #1054243
Apolonia Ancient Art
$1,365.00
This interesting Moche vessel is in the form of a skeletal head, and it dates circa 200-500 A.D. This piece is approximately 6 inches high, and is intact with no repair/restoration. This piece is mold made from a light brown terracotta, and there are spotty dark black and brown dotted deposits. This piece has a great deal of eye appeal, as the eyes and mouth are framed with shrunken skin not unlike a death skull. There is some academics that think this type of Moche portraiture displays an ancestor from the underworld, or it may portray a sacrifical victim that is seen with his skin ceremoniously flayed back away from the face. Whatever the case may be, there are many Moche vessels that portray a skeletal figurine, and there is likely a spiritual and/or underworld connection to this genre of Moche art. This piece has a flat bottom and is also designed with an upward tilt, in order that the face looks upward at the viewer. This piece is truly a powerful Moche image, and may also represent a "transformation" piece that may be a bridge between the living and the underworld. Ex: Andrea Sarmiento collection, Miami, FL. Ex: Erika Roman estate, Santa Cruz, CA. 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 #1184568
Apolonia Ancient Art
$3,685.00
This superb vessel is a Moche fineline ceramic that dates circa 450-600 A.D., Moche IV-V periods. This vibrant piece is approximately 12.2 inches high by 6.5 inches in diameter, and is in intact condition with bright dark red and cream colors. This piece also has some attractive light brown burnishing, some minute spotty light brown mineral deposits, and there is a small probe hole seen near the base on one side which is commonly seen on many authentic Moche ceramics. This piece also has a flat bottom and two lively running serpent warriors facing left, which are carrying shields/maces in an extended arm, and are seen with a bended extended leg. The fineline painting, along with the wave motifs seen on the raised stirrup, are painted in a vibrant dark red slip. This piece is one of only a few recorded examples that was likely painted by the same hand of a singular master painter, and is very analogous to the example seen in the Sackler collection. (See "Art of the Andes: Pre-Columbian Sculptured and Painted Ceramics from the Arthur M. Sackler Collections", Arthur M. Sackler Foundation Pub., Washington, D.C., p. 181, no. 58. See attached photo.) These serpent warrior examples are also thought to have been found in one geographic location, i.e Chimbote in the Santa Valley, and this theory also supports the premise that this piece was painted by an individual master painter. (This theory is also mentioned by Paul Clifford in the Sackler reference noted above.) The Sackler example and the superb example offered here, both show a coiled serpent body which conveys movement, a lively open mouth, dotted eye, and dark red trefoil body spots. This serpent warrior anthropomorphic composition conveys not only movement, but also a lively expression, which in combination makes this piece a master Moche composition. The anthropomorphic running serpent warriors composition also is a representation seen within the Moche spirit world, and may represnt the resurrection of a Moche warrior. This piece is a rare to scarce type, 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. 3821027., dated Nov. 27th, 1982.) 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:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #594176
Apolonia Ancient Art
$2,875.00
This Chavin/Cupisnique water carrier is an early type Chavin ceramic and dates circa 900-600 B.C. This piece is intact and is in mint condition with no stress cracks and/or breaks. This large piece is approximately 12.1 inches high, and has a cream and light red polychrome glaze. There is some light brown burnishing seen mostly on the bottom, and there is also a very small drill hole that is seen that was done for a thermoluminescence test (TL test). This TL test was done by the prior private collector in Germany, and it was done by Kotalla Laboratory. This document is included with this piece.(The results of this test place this piece circa 600-400 B.C.) This cute piece has a friendly warm smile and projects an easy going carefree feeling. The design of the face is very simple, and comic-like, but this was probably the intent of the potter/artist. This type of piece is rare for an Andean ceramic, as most Andean cultures such as the Chavin and the Moche were based on a warrior cult that used live captives for sacrifice. The Chavin/Cupisnique produced some of the first and finest ceramics in ancient Peru, and the stirrup-spout seen on this vessel was their invention. This allowed the Chavin/Cupisnique potters to move this piece around in the kiln with a stick, and they were able to produce pieces that had bright colors with even glazes such as this piece. This water carrier may be a representation of a person, but more likely, it is an anthropomorphic form represented as being from the spirit world. There is also a face seen at the front of the main body of the vessel that may double as a clothing design. This piece may also be from the "Cupisnique" culture as noted by Richard Berger in "Chavin and the Origins of Andean Civilization", page 90-99. He notes that this type of ceramic, with it's trapezoidal arch and single spout with the flaring end, are creations of the initial phase prior to the appearance of what we know as true Chavin style ceramics. The TL test seems to support this view. Most early pieces of this type have simple line design details for the eyes, nose, and other facial features/body design as this piece shows. This Chavin/Cupisnique piece is a rare, early type and is a large example. Ex: Private German collection. Ex; Private CA. 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 #1239393
Apolonia Ancient Art
$3,265.00
This attractive piece is a Vicus culture seated figurine that dates circa 200 B.C.-300 A.D. This piece is approximately 6.9 inches high, and is in mint to superb condition with no repair/restoration. This piece has a pleasing nice deep reddish-brown glaze, and has some minute root marking and some light blue/black spotty mineral deposits. This piece is a stirrup-type vessel, and it has a flat bottom. The legs and arms are seen tucked in close to the seated body, and this figurine seems to exhibit an inner core that is changing from an animal form to a human form, or vice-versa. This piece is classified as a "transformation type" ceramic, and this can especially be seen with the human facial features relative to the almond shaped eyes and well defined nose. The wide mouth appears to exhibit this change as well, as does the dual lobbed head which is an anthropomorphic animal feature which is attributed to an animal such as a monkey. This piece is also an excellent example of a ceramic from the Vicus culture of ancient Peru, due to the reasons noted above, and most pieces from this culture seem to exhibit some form of "transformation" from one degree to another. This piece is also "thick walled", and has some weight to the piece. The early Peruvian ceramics from this culture were also fired at about 400 degrees C, thus producing a "thick walled" ceramic, as opposed to the subsequent Peruvian cultures such as the Moche, which produced "thin walled" ceramics which were fired at about 1000 degrees C. This piece is also analogous to an example seen in "Arts Ancient du Perou" by Bernard Villaret, Times Editions Pub., 1978, p. 51. (See attached photo.) This piece has some weight, as one handles this piece, and is in scarce mint condition with a vibrant deep reddish-brown glaze. Ex: Dr. Ernst J. Fischer collection, Germany, circa 1980's. Ex: Auktion Ketterer 119, Zurich, 1987. Ex: Private German collection. Note: Additional documentation is available to the purchaser, including a TL test from Gutachten Lab., 11/23/1984, no. 584912. 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 #1234584
Apolonia Ancient Art
$2,675.00
This extremely rare piece is a Moche "open topped" jar that is Moche V Period, circa 500-700 A.D. This piece is approximately 5.6 inches high, by 5.25 inches wide at the base. This interesting piece is a polychrome black-ware vessel, and has a nice glazed surface with some attractive dark brown burnishing. This type of Moche "portrait vessel", is generally seen within the Moche V Period, and is often associated with "open topped" vessels with an extended neck. The extremely rare piece offered here is intact, has some spotty mineralization, and some attractive minute root marking. This piece shows a man with a facial deformity, as the face is seen caved in with a diminutive nose and an extended lower jaw. The man is also seen looking straight ahead with what appears to be a forlorn facial expression. This piece was collected circa 1960's by Dr. Ernst J. Fisher, who collected Moche art/ceramics that were medical related, and often depicted individuals with diseases and/or deformities. The Moche were known for their realistic ceramic portraiture of individuals, and the vessel seen here is a prime example of their skill for realism in portraiture, and it is likely that this piece depicted an actual individual. The most common view of the deformed face of the individual depicted here, is that this deformity was the result of a disease such 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 symptoms include painful nodules inside the nose, perforation of the nasal 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.) This piece likely displays the disease noted above, as the final stage of this disease is a collapse of the nasal septum followed by death. This piece may also have been a votive type piece, as this disease was regarded by the Moche as a sacred sign of the Gods, and consequently, this type of "portrait vessel" is extremely rare. Ex: Dr. Ernst J. Fischer collection, Germany, circa 1960's. Ex: Private German collection. (Note: Additional documentation is included for 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 #1237476
Apolonia Ancient Art
$3,675.00
This animated piece is a squatting figurine that is from the Nazca-Wari culture, circa Middle Horizon, 600-700 A.D. This interesting piece is approximately 5 inches high, and has a flat bottom base. This figurine likely represents a squatting male who is seen holding a ball upwards with his right hand, and his left hand is also raised to his left ear lobe which appears to be bleeding. This blood is also seen running down his left arm, and his facial expression is very animated with his crooked mouth. This crooked mouth may also be a representation from his injury to the left side of his head, which also may represent a stroke and/or a cranial injury. The figurine is also seen wearing a cloak with geometric patterns, and it may be that the person depicted here may also have been a ballplayer. The raising of the ball in his right hand may also be a sign of victory in the ancient Mesoamerican ballgame, and this may depict the point of victory in the game. This piece is also a ceremonial whistle vessel, and makes a high pitched noise when one blows into the bottom opening seen at the back side of this piece. There is also an opening for the whistle seen at the back side, and also the remains of a stirrup attachment, as this piece is the front half of a stirrup vessel. This piece may also have been ceremoniously broken when it was buried, and perhaps this was linked to the fact that this piece may have portrayed an actual person. This piece was also collected by Dr. Ernst J. Fischer who collected Pre-Columbian ceramics that displayed medical related diseases and/or conditions. The condition of this piece is also superb to mint quality and the white, gray, light red, and black colors are very vibrant. This piece was also one of the favorite pieces of Dr. Fischer, and is one of the rare examples of Andean Pre-Columbian art that likely displays a medical condition such as an injury and/or stroke of an individual. In addition, the injury depicted here may have been self inflicted and/or initiated to relieve the condition of stroke, but it is more likely that this injury was the result of playing in the ballgame. It is also interesting to note that the face of this individual is divided into two parts, with one half of the face depicted in light red, and the other half, in light gray. This piece is also a rare medical related type of ceramic, and is seldom seen on the market. An analogous piece from this culture was offered at Sotheby's African, Oceanic & Pre-Columbian Art, New York, May 2014, no. 203. (See attached photo. This complete open-topped vessel is approximately 5.5 inches high, and has analogous colors/design relative to the tunic and bilaterally colored face. $10,000.00-$15,000.00 estimates, $68,750.00 realized.) Ex: Auktion Ketterer 163, 1989, no. 337. Ex: Dr. Ernst J. Fischer collection, circa 1980's. Ex: Private German collection. Note: Additional documentation is included for 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 #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 #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 #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: