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 #1107318
Apolonia Ancient Art
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This rare Mayan ceramic is a small bottle known as a "poison bottle". This piece dates circa 600-900 A.D., and is approximately 3.9 inches high by 1.75 inches wide. This exceptional piece is larger than most examples, and is intact, with no repair and/or restoration. This piece was used by the Maya as a container that was used to contain precious contents such as red cinnabar, which was the most common product that this type of vessel contained. Red cinnabar was widely traded in the ancient Mayan world, and was used in religious Mayan ceremonies, tombs, ceramics, and jewelry. Red cinnabar is a known preservative of organic matter, which made red cinnabar sacred to the Maya due to it's preservation properties, and this was important relative to the Mayan concept of eternal life. Red cinnaber is extremely toxic in concentrated quantities, as it is mercury based (HgS), and this is why this type of vessel is known as a "poison bottle". This piece also has no noticable traces of red cinnabar on the inside surfaces. This superb vessel has a mold pressed scene of the Mayan gods K and L facing one another, and each rounded side of this vessel has a mold pressed double-banded Mayan glyph band. The double-banded Mayan glyph bands, seen on each rounded side of this vessel, are identical, as they were mold pressed from the same molds. The mold pressed scene of both Mayan gods, seen on both flat Sides A and B, is identical as well. Side A is slightly more clearer than Side B, as the same mold was used to press each side; and this mold filled with some loose material from pressing Side A, which subsequently produced an image on Side B that was not as sharp. This is the case with most of these Mayan molded bottles, and this slight loss of detail is also an excellent mark of authenticity. God K, seen standing to the left facing God L, has a snake foot seen behind, and a smoking scroll that is seen emerging from his forehead. God K is a major Mayan deity, who personified royal power and was a protector of royal lineages. God L, seen standing on the right facing God K, has a wide-brimmed hat with a Moan bird, and a jaguar-hide cloak with indented spots. God L is also one of the principle Mayan gods that presided over the underworld. This scene with both "standing gods" is rare, compared to the numerous examples of "poison bottles" of this type that show both gods seated. In addition, the piece offered here has a "world tree" design between both figures, in contrast to the "seated gods" type, which has a "glyph band" between both figures. (See attached photo showing an example of the "seated gods" type. The "seated gods" example seen here is a drawing of a "poison bottle" that is seen in "The Smoking Gods", by Francis Robicsek, University of Oklahoma Press, 1972, p.187, Figure 210.) The "standing gods" type offered here, also shows God K without an extended nose and smoke scrolls, but rather shows his face as a mortal as is portrayed in Mayan art. This may indicate that the standing individual portrayed on this vessel, may in fact portray a royal personage as God K, and this may also explain the "world tree" that is seen between both individuals. It is thought that the royal kings of Palenque, in additional to other Mayan cities, tied themselves to the gods as much as possible, and in the case of Palenque this is especially true regarding God K. According to Robicsek (See the reference noted above pp. 74-75): "As has been mentioned, the possibility that these personages represent God K in human guise cannot be completely excluded because the Mayan gods were polymorphous-able not only to assume the aspects of the animals or plants they represented but also to metamorphosize into human forms. When, however, we consider the very important written historical data on these monuments, it is more probable that they represented rulers who accorded themselves these divine features and claimed to be either the deity himself or his descendants." This intact piece also has several minute dark black deposits, some faint red cinnabar deposits down in the low relief sections, and there is some attractive dark brown kiln burnishing seen on the upper opening, Side B, and on the bottom surfaces. This burnishing was primarily a result from not enough heat/oxygen in the kiln when the piece was fired, and kiln burnishing is very common relative to Mayan light brown/tan ceramics of this type. This piece is a rare type, as it is a very large example, and is a "standing gods" type that is seldom seen on the market. In addition, this piece has a double-banded "glyph band" on each side, and usually, one sees the single "glyph band" on each side, or no "glyph band" at all. Ex: Lands Beyond Gallery, New York. (Circa 1980's, inventory no. D
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1208597
Apolonia Ancient Art
$7,865.00
This scarce piece is a Mayan brownware tripod vessel, "Teotihuacan Type", that dates circa 250-450 A.D. This Mayan piece is classified as having "Teotihuacan" artistic style, and is of the type seen in "Pre-Columbian Art, The Morton D. May and The Saint Lewis Art Museum Collections" by L.A. Parsons, New York, 1980, Fig. 133. This superb piece is approximately 8.3 inches high by 12.4 inches in diameter, and is complete with some limited crack fill/repair. This piece also has some traces of red cinnabar in the low relief molded sections of the vessel, and some minute spotty black mineral deposits. There is a black polychrome band seen below the rim, and there are raised coffee bean symbols that are seen running around the vessel at the base of the bowl. This attractive brownware piece is supported by three hollow slab feet that show an identical trophy/death head molded design, and the bowl has a molded frieze that runs around the piece. This molded frieze is divided into three sections by incised bands, and each section has an identical impressed molded design that was repeated three times. This impressed molded design shows a Mayan ballplayer on one knee, and he is wearing a yoke around his waist, along with a helmet/headdress and other regalia. There also appears to be a speech-scroll seen running away from this figure as well. He is seen bouncing a large ball off his hip/yoke, and this large ball also appears to be depicted at the moment of impact. This figure may represent the Mayan Hero Twin "Xbalanque", who was the great mythic ballplayer in the Mayan "Popol Vuh". In addition, this impressed molded design shows a standing individual/ballplayer that is seen facing the ballplayer that is seen on one knee, and this standing individual/ballplayer has a skull-like old man facial design, and likely represents one of the Mayan Death Gods of Xibalba, which is the Mayan underworld. This standing Death God is seen holding a hanging object, and this may be a handstone, "manopla", which was used in the ballgame perhaps during the serve, or it may represent a squash, which represents a severed head of the other Hero Twin, "Hunahpu". This standing Death God may represent "God L", who was also one of the principle gods of the underworld, and was known as "Lord of the Underworld". The number three is also significant regarding the Mayan ballgame, as the Maya were thought to have played the game with three principle players on each side. It is interesting to note that this piece has three legs that each depict a trophy/death head, along with the three sections of the molded frieze which each have the three identical molded impressions as noted above. There is a total of nine molded impressions, three per section, seen within the molded frieze that runs around this piece, and the number nine is associated with the Hero Twins. (See "The Sport of Life and Death: The Mesoamerican Ballgame", M. Whittington Ed., Thames and Hudson, New York, 2001, p.239, which also shows a scene which is very analogous to the scene seen on the piece offered here, and that is the Hero Twin "Xbalanque" on one knee hitting the ball with his yoke, and the standing "God L". See attached photo.) According to Linda Schele in "The Code of Kings", New York, 1998, p. 213: "Both sets of Twins (Hero Twins) confronted the Lords of Death in the ballgame, which was a symbolic form of warfare. The Hero Twins used the dance to defeat Death, and it was in the ballcourt that they resurrected their dead forebears. It was also in the ballcourt that the Maize Gods stayed after the successful Fourth Creation and the engendering of humanity. It is there that human beings must go to worship the Maize Gods." This piece was also likely ceremonial in nature, given the Mayan ballgame symbols, and may have held an offering such as a severed head, possibly from a ballplayer. The Mayan death head symbol seen on the legs of the vessel also support this theory, along with the fact that this type of piece is known as a votive offering vessel. The noted Mayan epigraphist, Dr. Mark Van Stone, has confirmed that the three legs seen on this vessel have: "a head on the leg that represents a generic trophy head" and, "his eye is closed, which suggests a captive decapitation, and his jaw is hidden by a scroll, a little like the head-variant of (Te)". This exceptional piece is scarce to rare, as most Mayan vessels of this type portray warriors and/or battle scenes, rather than a scene from the Mayan ballcourt. Another analogous vessel of this type that portrays a molded priest/warrior in flight is seen in Sotheby's Pre-Columbian Art, New York, Nov. 1991, no. 155. ($8,000.00-$10,000.00 estimates.) Ex: Private New York collection, circa 1990's. Ex: Donick Cary collection, Los Angeles, CA. Ex:
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 #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 : Stone : Pre AD 1000 item #1162134
Apolonia Ancient Art
$1,865.00
This interesting piece is an Aztec flint blade which dates circa 1400-1525 A.D. This piece is approximately 6.3 inches high by 2.5 inches wide. This piece is intact, save for a minute chip at one end, and has a beautiful light brown patina with some spotty black mineral deposits. This piece has a small hole near the center of the piece, and this hole is full of minute crystals which are imbedded in the inner cavity, and run to the outer edge of the hole on each side of the piece. It's quite possible that the small hole with crystals was formed from constant mineral drippings, as this piece may have been a ceremonial offering that was buried in a cave or underground tomb. It is interesting to note that the crystals not only extend to the outer edge on each side of the hole, but also over both edges on each side of the piece, and onto the outer carved/chipped planes of the outer flat surfaces near the edge of each side of the hole. This is an indication that the crystal mineralization, and the hole seen on this piece, developed after this piece was carved and buried. The patina and the mineralization are also excellent indicators which go far in establishing the authenticity of this piece, and there are many forgeries of this type of piece that have been on the market. The carving of this piece is exceptional and very well detailed as well, as one can easily see that the carved/chipped planes become smaller towards the edge of the piece, and this forms a blade of elliptical form that has extremely sharp edges. Aztec blades of this type have been used as a lance or knife blade, but the piece offered here was likely used only in a votive context. The flint stone of this piece is also semi-translucent, and according to Eduardo Matos Moctezuma in "The Great Temple of the Aztecs: Treasures of Tenochtitlan", Thames and Hudson Pub., London, 1988, p. 97: "Many objects of flint and obsidian, locally available raw materials, were also made by the Aztec artisans to be deposited in caches. Flint was most frequently chipped into knives and blades. Some of these knives were decorated with with bits of shell and stone mosaic to form little faces in profile, resembling representations of the flint day sign in the Borbonicus. Similarly, obsidian (a volcanic glass) was chipped to form knives and blades with sharp cutting edges, but it was also carefully worked and polished into miniature imitations, such as small heads and rattles of the rattlesnake. Obsidian is an extremely dense and glassy stone, and is a difficult material to work; such miniatures attest to the skill of the Aztec craftsmen. While flint and obsidian implements symbolically and functionally evoke sacrifice and death, more overt evidence of ritual acts can be found in the numerous examples of worked crania. Sometimes a flint knife is placed between the teeth, like a tongue projecting from a grinning mouth, at other times another knife is inserted into the nasel cavity to create an animated image of death. We do not know wheather these objects were used as masks in rituals, or wheather they were made as symbols of death and sacrifice to be placed in offerings." (See attached photo from the text above, p. 98, ill. 80, of a skull mask with two analogous flint blades such as the example offered here.) The piece offered here was likely cermonial and was votive, but in exactly what context it was used, that is not certain, but whatever the case, the piece offered here is an extremely interesting and rare example of the type. This piece also comes with a custom wooden display stand, and can easily be removed. Ex: Private North Carolina collection. Ex: H. Rose collection, New York. 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 #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 : 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 : 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 : 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 #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 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 #1198713
Apolonia Ancient Art
$1,865.00
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 : Stone : Pre AD 1000 item #1243559
Apolonia Ancient Art
$1,275.00
This cute piece is a Recuay culture stone jaguar that dates to the Early Intermediate Period, circa 400 B.C.-300 A.D. The Recuay culure was centered in the Northern Peruvian Highlands, Callejon de Huaylas Valley, and this culture created some of the most sophisticated stone and metalwork in ancient Peru. This piece is approximately 1.5 inches high by 2.25 inches long, and is a complete piece with no repair/restoration. This piece is in superb to mint condition, and has a nice patina with some mineral deposits which are seen mostly in the low relief areas and minute pitted areas of the stone. This attractive piece is a light green serpentine stone, and it is a very dense and hard stone with normal minute pitted surfaces. This piece has a bow drilled hole seen where the tail curls up to the body, and this piece may have been hung as a pendant. There are also bow drilled eyes, and carved lines that form a nose, whiskers, and mouth. These carved lines also form claws at the front, and rear claws seen on the bottom of the piece, as the rear legs are seen tucked under the seated body. This piece may also have served as a fetish for a shaman, and this piece is a powerful representation of a jaguar which was the protector spirit in the Pre-Columbian cosmos. This piece likely also defined the social status of the individual, and may have been a votive offering to venerate an ancestor, while also serving as a "protector" type piece. The jaguar image is also a prominent image relative to the Recuay culture, and is seen in the majority of their artwork which also suggests that the Recuay developed and followed a "jaguar" cult. This piece simply sits on a custom stand, and has a great deal of eye appeal. This piece is also a scarce example, and is in exceptional condition for the type. Ex: Splendors of the World gallery, Los Angeles, CA., circa 1990's. 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 #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 #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 #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 #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 #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: