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 1492 item #1185287
Apolonia Ancient Art
$1,675
This attractive piece is an Inka-Chimu canteen vessel that dates circa 1450-1533 A.D. This piece is approxiamtely 8.5 inches high by 3.5 inches wide, and is in mint to superb condition with no repair/restoration. This piece has an attractive glossy black glaze with some dark brown burnishing. This piece has an indented depression on each side, and seen centered within, is a star and a spiral symbol on each side of the vessel. The star is a well known Inka symbol, and is often seen as a design shape on Inka bronze mace heads and black basalt bowls. The spiral design is also seen as a Nazca line symbol, and these line symbols created in the desert were constructed by the Nazca to have been viewed by the Gods from the air. The Nazca spiral design may have served as a "water/rain symbol", and the canteen vessel offered here may have held water in a votive capacity as well. (An analogous Nazca spiral symbol is seen published in "The Mystery On the Desert" by Maria Reiche, pub. 1949, reprint 1968.) The piece offered here was also likely made by Chimu potters who simply continued working for their Inka masters who conquered their city state of Chanchan circa 1470 A.D. The piece offered here derives from earlier Chimu pottery types/techniques, notably the lustrous blackware made by the north-coast potters of Chanchan and Lambayaque. One feature of these Chimu potters, seen on the vessel offered here, is the single elongated neck of the vessel. This piece is an interesting example of Andean pre-Columbian art, as it has symbols that are common to several cultures, and has a very esoteric shape which is another hallmark of Inka ceramics. Ex: Private German collection, circa 1970's. Ex: Dr. Klaus Maria collection, circa 1980-2012. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1260877
Apolonia Ancient Art
$4,675
This scarce piece is a Mayan ceramic that dates circa 600-900 A.D. This piece is approximately 7 inches long, by 4.5 inches high, and is in superb intact condition with only a few minute abrasions. This piece also has an attractive orange and light brown polychrome glaze, with some heavy and spotty black mineral deposits. This interesting vessel is in the form of a sitting rabbit, and has all four legs tucked under the body. There is also a single rattle that is built into the animated hollow head, and rattles of this type are normally seen in the rounded hollow legs of select Mayan tripod vessels. This appealing vessel is designed to sit horizontally as a rabbit would be at rest, and also upright, as if the rabbit is raised up on it's hind legs. In addition, there are three suspension holes, one under each front leg, and one that runs through the head. This allowed one to control a liquid that could then be poured from the raised hole that is seen on the upper back of the rabbit. This piece also has a black Mayan mat symbol which is painted on the belly of the rabbit. The rabbit, for the Maya, was a deity associated with scribal or artistic roles, and was the patron god of the Mayan scribe. According to Michael Coe in "The Art of the Maya Scribe", Abrams Pub., New York, 1998, p. 110: "The much illustrated little Rabbit God writing a codex on the Princeton Vase makes only one showing as a scribe in the art of the classic Maya. He must be the same rabbit that the Maya saw on the face of the moon, and is iconographically linked with the Moon Goddess, who often is depicted holding him in her arms." The piece offered here may represent a scribe as a rabbit, but more likely it represents the "Rabbit God" himself, who also doubles as the patron god of the Mayan scribes. This vessel may also have been a "paint pot" for a Mayan scribe and/or it may also have been a votive vessel for an important individual such as a Mayan scribe. The artistic style of the painted black Mayan mat seen on this piece, is also analogous to the painted mats seen on "Copador" type vessels. The name "Copador" is a contraction of Copan and El Salvador, and refers to the zone of distribution for this type of vessel. This piece may also refer to the 13th ruler of Copan, "18 Rabbit", who acceded to the throne circa 695 A.D., and ruled for 43 years. Under his rule in Copan, Copan's population was growing as never before, and the "Copador" polychrome ware was being manufactured and distributed over a wide area in the Mayan world. This energetic ruler erected many monuments, including one of the largest ballcourts (Ballcourt A-III), which was second only to the Great Court at Chichen Itza. Linda Schele also felt that this ruler was also the greatest single patron of the arts in Copan's history, based on the number of works and the high-relief style of carving. (See "Scribes, Warriors, and Kings", by William Fash, Thames and Hudson Pub., 1991, p. 125.) Hence, it's quite possible that the vessel offered here also referred to this ruler of Copan, in addition to representing the "Rabbit God" of the Mayan scribes. This piece is a rare intact Mayan vessel designed in animal form, and full bodied Mayan "animal form" type ceramics are seldom seen on the market. Ex: William Freeman estate, New Mexico, circa 1960's-1980's. Ex: Private AZ. collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Stone : Pre AD 1000 item #701988
Apolonia Ancient Art
$875
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 : Stone : Pre AD 1000 item #1162134
Apolonia Ancient Art
$1,865
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 #1022403
Apolonia Ancient Art
$1,275
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 : Pre AD 1000 item #1169806
Apolonia Ancient Art
$6,875
This large piece is a "Veracruz" culture standing priest, Remojadas type, that dates from the Classic period, circa 450-650 A.D. This piece is approximately 22.5 inches high, and easily stands by itself on a custom wooden stand. This piece is of an artistic style, known as "Remojadas", which is the name of a particular archaeological site, although objects in closely related styles actually come from a number of different sites in Veracruz. The name "Remojadas" thus refers to objects from south-central Veracruz, generally from the Classic-period. This piece is also known as a "Xipe-Toltec" type priest, as he portrays the god in costume. The "Xipe-Toltec" cult flourished along the Gulf Coast of modern day Mexico during the Classic and early Postclassic periods before gaining a prominent place in the Aztec pantheon, probably as a result of the subsequent Aztec domination of the Gulf Coast in the mid-15th century. Most Xipe figures vividly depict a human inside a flayed skin of another man, and this god was known as "Our Lord the Flayed One". According to Charles Phillips in "Aztec and Maya", Lorenz Pub., London, 2007, p. 62: "Victims killed in honour of Xipe Totec, the god of planting and vegetation, were shot with arrows so that their blood flowed into the earth like life-giving waters. Indeed, the Aztecs called human blood "chalchiuatl" (precious water). The corpse was then flayed and a priest would wear the skin in honour of the god. The rite was a celebration of the splitting of seeds that makes possible the growth of new vegetation each spring." Mary Miller and Karl Taube in "Ancient Mexico and the Maya", Thames and Hudson Pub., London, 1993, p. 188 also add: "At the time of the Conquest the Xipe festival fell during the spring, in our month of March, and much of its imagery suggests agricultural renewal: as a seed germinates, it feeds off the rotting hull around it, finally letting the new shoot emerge. The Xipe impersonators wore the old skins until they were rotten, when the young man once again emerged." The Xipe-Toltec piece offered here displays a priest wearing the flayed skin of a sacrificial victim, as seen with the rolled skin folds seen hanging below the neck, the skin leggings, the skin bundles tied at the back shoulder and the right hip, and the human skin mask. There are black-bitumen painted highlights seen on the headband with medallions, earplugs, lips, and eyes. There are also black-bitumen painted extruded eyeballs that are seen hanging from the eye openings, and the black lips accentuate an open mouth that shows this dramatic figurine chanting in a ritual posture. This expressive figure is also holding a floral designed fan with petals, which may represent the Xipe ritual of regeneration. This piece is made from a light gray terracotta, and has light tan mineral deposits. This piece was repaired from several large fragments, which is usually the case for large-scale Veracruz pieces such as this, and this piece is a better example than what is usually seen. The floral fan is an attribute that is seldom seen as well, and this is a principle reason why this large example is a scarce to rare type. The floral fan also indicates that the individual depicted is likely in the act of performing the "Xipe-Toltec" regeneration ceremony, along with the fact that this priest is seen with an open mouth who appears to be chanting in the act of the regeneration ceremony which ensured the planting and growth of the new years crops. The majority of these figurines are seen simply standing in an upright position, and are not seen holding any implements of any sort, but more importantly, the majority of these Veracruz "Xipe-Toltec" figurines do not display a dramatic facial expression such as this example. (Another Veracruz "Remojadas" example of this type and of the same size is offered in Bonhams African, Oceanic & Pre-Columbian Art, New York, Nov. 2012, no. 3. $8,000.00-$12,000.00 estimates, $10,000.00 realized.) For the type offered here see: "Ancient Art of Veracruz", Ethnic Arts Council of Los Angeles, 1971, no. 31. Ex: Private CA. collection, circa 1970's. Ex: Bonhams Art & Artifacts of the Americas auction, San Francisco, Sept. 2012, no. 1039. 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
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 #1250013
Apolonia Ancient Art
$6,875
This extremely rare and cute piece is a Moche blackware feline that dates Moche I Period, circa 300-100 B.C. This early Moche piece is approximately 8.25 inches long by 7.2 inches high. This black glossy glazed piece is intact, and has some attractive light brown burnishing and some minute spotty black mineral deposits. This cute piece is a reclined feline that is seen with his long-tailed prey in his mouth, and this prey appears to be a small mammal and/or mouse. This feline's powerful bared teeth are seen holding it's prey securely in place, and this feline also appears to be relaxed, as he is seen reclined with his lower torso to one side along with his wavy tail. This feline is also seen with forward-curving ears, graceful incised whiskers, rectangular nose, and a compact body. There is also a stirrup-spout at the top of the body, and male attributes are seen between the hind legs. This type of Moche ceramic normally does not have prey in his mouth, and as such, is an extremely rare type. Another analogous blackware reclined feline piece, without the prey, is seen in Sotheby's Pre-Columbian Art, New York, Dec. 1981, no. 14. (See attached photo. $1,200.00-$1,800.00 estimates, $1,210.00 realized.) The feline offered here may be a rare black jaguar, or a smaller feline such as a puma. Wild felines held a special place in the mythology of the ancient Americas. The felines special night vision combined with their powers as hunters were often likened to the power of shamans who would incorporate feline elements into their costumes or paraphernalia. The piece seen here also has enlarged eyes, which emphasize this creature's excellent night vision, and the face of this feline has anthropomorphic characteristics. This type of piece is extremely rare, as it is a type that has the caught prey, is in superb condition, and has great eye appeal. 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 : Stone : Pre AD 1000 item #1027901
Apolonia Ancient Art
$1,265
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 : Pottery : Pre AD 1000 item #1207767
Apolonia Ancient Art
$4,675
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 #1254565
Apolonia Ancient Art
$1,265
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 #1047632
Apolonia Ancient Art
$965
This cute piece is a Colima standing warrior that dates circa 150 B.C.-250 A.D. This piece is approximately 5.5 inches high and is intact, with no apparent repair and/or restoration. This piece is a light red/orange terracotta, and has some minute dark black spotty dendrite deposits. This piece is also a whistle, with an opening at the top and at the back of the hollowed head. The whistle is well made, and makes quite a sharp high-pitched tone. This piece was likely ceremonial, and may have been part of a group ceremony. This type of piece is also known as a "protector" type piece, and is thought to protect the deceased in the afterlife. The standing warrior seen here is nude, and is seen holding the full body length shield with both hands. The shield is leaning against the upper body of the warrior, and only the upper half of his face/head is seen peeking above the upper end of the shield. The design of the curved shield protects a great deal of his body, and it is probable that this stance illustrates the type of warfare that was conducted by the ancient Colima. It is unknown if he is part of a shield wall with many warriors, as was the case of the phalanx formation that was deployed by the ancient Greeks, or if he is simply depicted as an individual warrior in combat. The warrior is also seen wearing a turkey tail feather crest/helmet, and this makes him seem larger than life and more imposing. (A turkey whistle with analogous designed tail feathers, as the crest design seen here, is seen in "Sculpture of Ancient West Mexico" by Michael Kan, Los Angeles County Art Museum, 1989, no.169.) An interesting piece that has a high degree of eye appeal. Ex: Yvette Arnold collection, Dallas, Texas, circa 1970's. Ex: Private Fl. collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1181942
Apolonia Ancient Art
$3,275
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 #1198713
Apolonia Ancient Art
$1,865
This cute little piece is a Nazca figurine that dates circa 200-500 A.D. This piece is approximately 6 inches high, and is in mint condition with no over paint and/or restoration. This charming piece is a rounded seated figurine with modeled legs and arms and cupped hands. This figure is seen wearing a feathered headdress tied up in a central knot, and has decorative tattoos on each shoulder in the form of a stylized fish (shark?) on the right shoulder, and on the left shoulder, a possible stylized bird image. This piece has a very animated expression, and is seen with a small rounded mouth in the form of a circle, and wide open rounded eyes. This piece is also portrayed as being bare chested, as there are two small rounded red dotted breasts. There is a small spout at the top, and a strap handle at the back. This piece also has vibrant polychrome glaze in beige, brown, black, and cream colors. Ex: Sotheby's Pre-Columbian Art, New York, Nov. 1996, no. 204. ($1,500.00-$2,500.00 estimates, $1,495.00 realized.) Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1107318
Apolonia Ancient Art
Sold
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 #1054243
Apolonia Ancient Art
$1,365
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 #1044364
Apolonia Ancient Art
$2,875
This visually appealing piece is a large Mayan cylinder vessel that dates circa 400-600 A.D. This piece is approximately 8.5 inches high by 6.9 inches in diameter, is intact with no repair and/or restoration, and sits on four legs that are attached to the bottom base. This piece is a bright orange and black-line polychrome ceramic, which has a "square-cubed" geometric pattern that runs around the entire outer surface. This pattern is likely an imitation of a basket weave pattern, or possibly a textile pattern. Mayan artists also relished imitation of one material with another, particularly in painted media that we read as "trompe l' oeil", in which the eye is tricked, and in the case of the piece offered here, the surface was painted in such a way as to make the observer see woven basketry. In addition, and according to Herbert J. Spinden in "A Study of Mayan Art, Its Subject Matter & Historical Development", Dover Pub., New York, 1975, page 147: "Simple basket weavings appear as painted ornamentation on potsherds from the Uloa Valley (Fig. 204). Complicated braided patterns are common as the rim decoration on pottery from this region, and may have had their origin in the imitation of wicker-work basketry. It is probable that basketry was not of much importance as an art among the Maya, owing to the high development of ceramics." This piece has some heavy spotty black manganese deposits and root marking, which is mainly seen on the bottom and at the bottom edge of the vessel. This piece has some minor minute glaze loss, but overall, it is in extremely fine condition. This piece is also from the Salvador/Honduran region, as the orange and black colors are common for the region, but the type of geometric "square-cubed" pattern that is seen running around the entire vessel is not common, and is a scarce design. This large piece is interesting, has a high degree of eye appeal, and is scarce in this condition with its vibrant color. Ex: C.W. Slagle collection, Scottsdale, AZ., circa 1980's. Ex: Private FL. collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #902203
Apolonia Ancient Art
$3,675
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: