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 #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 #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 #1022403
Apolonia Ancient Art
$1,275.00
This interesting piece is an Olmecoid standing figurine that dates circa 600-300 B.C. This piece is approximately 6 inches high, is a light tan clay, and has a thin light tan to clear polychrome glaze. This piece is intact, and has a solid body and a mold made hollow head, which was attached in antiquity. This figure is seen with both arms at the side, and the hands are positioned at the front holding a paunchy stomach, which indicates that this piece is a fertility and/or mother goddess. In addition, the lower torso is "pear" shaped and has wide hips. This piece also has many classic Olmec artistic style features such as the jaguar-like ears, eyes, and mouth. These features are a combination of human and animal, which are classified as "transformation art", which is a principle stylistic hallmark of Olmec art from central Mexico. This type of Middle Preclassic period fertility figurine has been found in Izapa (Mexico), Kaminaljuyu (Guatemala), and Chalchuapa (El Salvador); and has also been classified as the "Mamom" artistic style, which was produced by a "pre-Mayan" and/or Mayan culture. (For the "Mamom" artistic style, see "Maya, Treasures of an Ancient Civilization", Harry Abrams, Inc. Pub., New York, 1985, pp. 74-75.) This piece is scarce in this intact condition, as most pieces of this type are found broken, and is a much better example than what is normally seen on the market. This piece can also stand by itself. This piece comes with a custom stand, and can easily be removed. Ex: Julio Atalah collection, circa 1940-1967. Ex: Danny Hall collection, Houston, TX., circa 1967-2005. Ex: Saida Cebero collection, Sugarland, TX., circa 2005-2009. Ex: Private Florida collection. I certify that this pice 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 : Metalwork : Pre AD 1000 item #592720
Apolonia Ancient Art
$1,275.00
This Chimu silver offering bowl is quite attractive and dates circa 1100-1350 AD. This piece is approximately 7.4 inches long by 4.75 inches wide by 2.3 inches high. This silver vessel was hammered from one single sheet of metal, and was formed into the rectangular shape seen here. This piece is slightly thicker at the base, and has a slightly thinner outer edge. This rectangular shape runs concurrent and continually through many Pre-Columbian cultures, and this type of vessel is seen as early as the Olmec circa 400 BC. This shape allows one to easily hold the vessel in one hand, rather than both hands as a round vessel often requires, and two dimples were added on each side for an added grip. This piece was likely used in ceremonies, rather than being created as a votive type vessel, and this may also explain the design of this vessel. An additional dimple was added so that the vessel stands upright and does not fall over. There is also a cross hatch design seen on the upper rim that is often seen on Chimu silver vessels. (See Sotheby's Pre-Columbian, Nov. 2006, lot #296, that shows a Chimu silver beaker with a cross hatch design on the upper rim.) This piece has spotty black magnesian deposits and checkered metal from age. The condition of this vessel is mint, and it is intact. Ex: Jean-Eugene Lions collection, Geneva, Switzerland. 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 #905917
Apolonia Ancient Art
$765.00
This dramatic piece is from the La Tolita culture that is from northern Ecuador, Esmeraldas region. The La Tolita culture takes its name from a famous site that is located on an island at the mouth of the Santiago River. This superb piece dates circa 400 B.C.-300 A.D., is a light brown terracotta, and is approximately 3.75 inches high by 4 inches wide. This piece is a mask that depicts a simian and/or shaman, and the expression is quite dramatic, as the fine detail of the teeth and nose is easily seen. What makes this mask so interesting is that this mask may represent a simian in a state of transformation, from animal to man, or vice-versa, and it may also represent a shaman with a mask who is seen representing this state of being. This transformation may also have been drug induced, as this culure was known to have used drugs in ceremony. This mask is also votive, and may have served as a spirit mask for a mummy bundle or effigy. There are several holes that run around the edge of this piece that may have been used for attachment. This piece is intact, and has no repair/restoration. There is also some original light white paint that is seen in some of the sections of this piece, along with some spotty dark black/brown mineral deposits. This piece is better than most examples that have been on the market, and is analogous to the example seen in the Museo Arqueologico y Galerias de Arte del Banco Central de Ecuador, Quito. (See "Pre-Columbian Art" by Jose Alcina Franch, Abrams Pub., New York, 1983, p. 432, no. 573.) This piece comes with a custom black plexiglas stand, and can easily be removed, as the mask simply hangs from a pin. Ex: Peter Hacintos collection, New York. Ex: Private Florida collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1249675
Apolonia Ancient Art
$4,675.00
This extremely rare piece is a Moche seated man that is Moche IV Period, circa 450-550 A.D., and is approximately 8.3 inches high. This interesting piece is intact, save for a filled stress crack in the upper stirrup-handle, and is in superb condition with vibrant dark red, light brown, and cream colors. This piece is a seated Moche man who is dressed with regal ear flares, a wrapped headdress, a dark red back sack, and a cream colored tunic. The individual portrayed here does appear to have some social status in a regal or religious context, as he is seen finely dressed, and he is also seen holding a ceramic in each hand which may point to a ceremonial activity. This individual displays a pronounced facial deformity, which was also held in high regard by the Moche, as this was thought to be a sign from the gods. Special status and sacredness may have been accorded to those who suffered diseases and other physical handicaps. The pronounced deformed face of this individual has skin drawn tight over the bones, and is likely the result of a tropical disease. The Moche were known for their realistic ceramic portraiture, and the piece offered here is a prime example of their skill for realism in portraiture. Moche ceramics that are medical related, and depict individuals with diseases and/or deformities such as this piece, are rare to extremely rare. Another analogous example that portrays a deformed face is seen in "The Spirit of Ancient Peru: Treasures from the Museo Arqueologico Rafael Larco Herrara", Thames and Hudson Pub., by Kathlenn Berrin, San Francisco, 1997, no. 69. (See attached photo. This portrait-head type vessel seen in the Larco Herrara Museum may also be a portrait of the same individual as seen on the ceramic offered here. Both pieces have analogous features and are both Moche IV Period.) The individual seen here with the deformed face and diminutive nose was likely caused by a tropical disease known as Mucocutaneous Leishmaniasis (ML), and this disease is found today in Bolivia, Brazil, and Peru. ML is contracted from a sand fly bite, and subsequently, ML symtoms include painful nodules inside the nose, perforation of the nasel septum, and enlargement of the nose and lips. Untreated, the disease leads to ulcerated lesions and scarring and tissue destruction predominately in the face and extremities which can be disfiguring. (See MedicineNet.com for more information regarding this disease.) The piece seen here likely displays the disease noted above, rather than a battle injury, or a ritualistic mutilation, but whatever the case, this interesting piece is an extremely rare Moche vessel that is seldom seen on the market. Ex: Gayle Grayson Gallery, Chicago, Ill., circa 1980's. Ex: Estate of Daniel J. and Ruth Edelman, Chicago, Ill. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #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 #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 : Metalwork : Pre AD 1000 item #1226590
Apolonia Ancient Art
$8,765.00
This powerful piece is a Chimu culture silver mask that dates circa Late Intermediate Period, 1000-1400 A.D. This piece is likely from the Lambayeque Valley, Peru, and is approximately 11.75 inches wide by 6 inches high by 1.2 inches in relief. This piece is a silver with added copper metal combination with an applied coat of spotty red cinnabar than runs through the flat center section of the piece. This intact piece has a "box-type" nose construction, and is attached to the main body of the piece with folded over tabs. There are decorative small hand beaten rounded dot patterns, that are seen at each end of the ear sections, and these ear sections also show a rounded design which resemble ear spools. These main body of this piece is divided into three sections, and the middle section is the nose and "line-formed" mouth which is the focus of this piece, and the eyes seen in each of the two outer sections, frame the entire compact design of the face. On the back side of this piece, there are some textile remains seen between the main body of the piece and the "box-type" constructed nose section. This piece covered a "mummy-bundle" which was also wrapped in textiles, and this piece was likely wrapped around the face of the mummy along with additional textile wrapping. Depending on the status and wealth of the deceased, these Chimu masks could be of ceramic, of wood, or even cloth, but those of the most powerful were of gold and silver. This piece also has a dark gray patina, with several minute spotty black mineral deposits. Another analogous example of nearly the same size can be seen in Bonham's African, Oceanic, and Pre-Columbian Art, Nov.2013, no. 33. ($4,000.00-$6,000.00 estimates, $11,875.00 realised.) This piece is also mounted within a black wooden shadow box, and clear Velcro tabs securely hold it into place which attaches this piece to the black backing. Ex: Private German collection, circa 1970'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 #1088689
Apolonia Ancient Art
Price on Request
This extremely rare piece is an attractive canteen type vessel that has been classified as Nazca culture, circa 500-600 A.D. This piece is approximately 7 inches high by 8.75 inches wide, has a small raised opening, and is heart shaped. This piece also stands by itself, as it has a flat bottom, and is very easy to handle with both hands due to it's "V-shaped" design. This esoteric "V-shaped" piece has a beautiful dark red glaze, and may have been designed to represent a human heart. In addition, this piece has a small extended central top spout, which somewhat resembles a blood vessel for a heart. This piece also has two lug handles, seen on each side of the vessel, and these handles were made in order to suspend the vessel. The suspension of this vessel acted as an aid for one in the careful pouring of a liquid, and as such, this vessel was probably created for ceremonial use. It is also possible that, given the heart shape, the handle design, and the dark red color of this esoteric piece, the liquid contained within this vessel may have been human blood which was used for ceremony. This piece was also lavishly published with a full page color photo in "Art of the Andes, Pre-Columbian Sculptured and Painted Ceramics from the Arthur M. Sackler Collections" by Paul Clifford and Elizabeth Benson, The Arthur M. Sackler Foundation and The AMS Foundation for the Arts, Sciences, and Humanities, Washington D.C. publishers, 1983, no. 143. The following description of this piece is seen in the above publication on page 268: "The widest area of this kidney-shaped canteen is at the top. Its short spout has a thickened rim, and loop handles are attached to the sides just below the shoulder. The entire vessel is painted with a red slip. Such a vessel shape does not appear in any of the literature, but there is a similar piece in a New York collection known to the author. (The following is a footnote relative to the New York example: "Seen while on loan to the Duke University Museum.") The surface color and finish are comparable to the Nazca panpipes in Number 142 (See attached photo.), and the bottle is therefore included with the Nazca material, although actual provenance is not known. The minimum age indicated in the thermoluminescence analysis indicates that the piece was fired in antiquity, but does not provide any basis of dating beyond that minimum age. Further technical measurements, such as trace element analysis of the clay and analysis of the slip with which the vessel was painted may, in the future, provide a method for establishing provenance, if comparisons can be made with similar analysis of other objects". (The following is a footnote regarding the two thermoluminescence (TL) tests that were performed on this piece by the Sackler Foundation: "OX-TL reference no. 381f1, 02/08/83 and 05/26/83 estimates that the sample tested has a minimum age of 470 years according to results of two TL tests, one to analyze fading.") The bottom of the piece has an inventory no. N-110, and there are two minute holes which indicate where the two above TL tests were taken. This intact piece is also in mint condition, and has an even glaze that is a brilliant deep red color. This extremely rare piece is also one of the top esoteric vessels, if not the most esoteric vessel offered by the Sackler Foundation. Ex: Arthur M. Sackler collection, accession no. N-110. 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 #1245720
Apolonia Ancient Art
$3,265.00
This striking piece is a carved stone sculpture that is attributed to the Recuay culture, Early Intermediate Period, circa 400 B.C.-300 A.D. This piece is a solid stone piece that is approximately 4.5 inches long, by 3.4 inches wide, by 2.8 inches high. This piece is a dark brown color, and has minute dark black and spotty white mineral deposits. In addition, there are faint traces of red cinnabar deposits that are seen in the low relief areas of the rounded eyes and incised teeth. This piece is an excellent example of Recuay stone sculpture, as it has sharp angular or circular lines, and flat surfaces. The Recuay culture was a highland contemporary of the Moche, and was organized into small independent militaristic polities, and their art often depicted creatures that seen to be supernatural in character. The head seen here is a supernatural feline with ears seen at the top, and a wide mouth with prominent angular designed teeth. The circular eyes, open mouth filled with teeth, and angular flat nose seen at the front, identify this creature which is often referred to as the "moon animal", because of it's association with crescents and other celestial imagery in the coeval Moche style. The so-called "moon animal", a feline or foxlike creature with a triangular form of nose projecting from its face, plays a principle role in Recuay art and is common on fine Recuay pottery. (For an analogous piece and an explanation of the "moon animal", see the "Spirit of Ancient Peru; Treasures from the Museo Arqueologico Rafael Larco Herrara", Thames and Hudson Pub., New York, 1977, no. 24, p. 93. See attached photo.) This piece offered here also reflects the Recuay monolithic stone sculpture that was free-standing or incorporated into masonry walls, and was carved so that its undecorated shaftlike back could be inserted into a wall socket while the carved supernatural visage projected out of the wall in tenonlike fashion. This type of artistic design allowed the viewer to see a piece that "comes alive" in a simplistic fashion, and as such, this piece has a high degree of eye appeal. This splendid stone piece is mounted on a custom wooden and Plexiglas stand, and is angled upwards for the viewer. Ex: Splendors of the World Gallery, Los Angeles, CA., circa 1990's. Ex: Private New York 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 : 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 : 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 #1234381
Apolonia Ancient Art
$1,875.00
This scarce piece is an extremely large Mayan green jadeite tube that dates circa 600-900 A.D. This solid piece is approximately 8.5 inches long by 1.4 inches in diameter, and has a beautiful dark to light green color. The beautiful stone seen here is likely jadeite, rather than serpentine, as it is extremely dense. This interesting piece has a bow-drilled hole at each end which connect near the center, and the bow-drilled holes are approximately .5 to .6 inches in diameter which also slightly narrow within the tube. There is also a layer of gray calcite deposits seen on the inner surfaces, and a light mineralized patina on the outer surfaces as well. This piece is also not perfectly round, has a somewhat rectangular shape, and has a great deal of eye appeal. There is a very strong possibility that this scarce piece was used in Mayan smoking ceremonies, and/or may have been used in Mayan regalia and served as a decorative item in a headdress, a necklace, or a sacred ceremonial object. This piece is also somewhat heavy, as it is likely a dense green jadeite which was sacred to the Maya. According to Francis Robicsek, in "The Smoking Gods", University of Oklahoma Press, 1978, p. 73, Robicsek elaborates on the forehead tube that was used to identify God K: "Forehead tube thought to represent a cigar. This is a fairly constant trademark of this deity. The identification of God K of any portrait lacking the forehead tube is suspect. It is nearly always present on ceramic representations and on stone carvings, but is usually absent from paintings in the codices. The object may be tubular or funnel-shaped, or it may resemble a celt. Sometimes it is undecorated, but more often it is striated, dotted, or marked with oval symbols. It also varies greatly in size and, if painted, in color. As a rule the tube emerges from the forehead; however, in two paintings, both of them on Peten ceramics, it protrudes from the mouth. On most portrayals the handle of the tube is sunk into the head and it is not visible; on others it emerges at the nape. As discussed earlier, these tubes probably represent cigars, but the possibility that they may represent torches or celts cannot be excluded." In addition, the piece offered here may also have been used by the Maya relative to the relationship of the royal elite to God K, and may have been used by the Maya as noted above in some capacity as a decorative element and/or used relative to the smoking culture of the ancient Maya. This piece also sits on a custom display stand. Ex: Private CA. collection, circa 1980's. Ex: Walter Knox collection, Phoenix, AZ., Ex: Private CO. 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 #701988
Apolonia Ancient Art
$875.00
This piece is made of 22 tubular jade beads and a complete celt god pendant. The beads strung together are approximately 22 inches long, and the celt god pendant is approximately 4 inches high by 1 inch wide near the base. This piece dates circa 200-500 A.D. and it was produced in northern Costa Rica, in an area known as the Atlantic Watershed region. The beads and the pendant were bow-drilled, with a hole created from each end. The pendant shows line cut design and is likely an anthropomorphic human image. These pendants had magical properties and were worn as personal adornments which conveyed the status and rank of the owner. The ax god jade pendant type was first developed by the Olmec circa 1200-1000 B.C., and this type of object was also votive. This type of object is also found in many Pre-Columbian cultures in Mexico and Guatemala. This type of jade object is explained in detail by Frederick Lange in "Precolumbian Jade", University of Utah Press, 1993. This piece can be worn as is, but probably needs to be restrung. Ex: F. Hirsch collection, Germany. 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 #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: