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 #1293208
Apolonia Ancient Art
$1,875.00
This primitive, but esoteric piece is a Chontal culture seated mother goddess that dates circa 300-100 B.C. This piece is approximately 4.9 inches high, by 3.4 inches wide, by 1.9 inches thick. This piece was carved from a single piece of hard green serpentine stone, and is an attractive dark green, with spotty light brown and black colors. This piece has a nice patina with some calcite deposits seen in some of the minute veins that run on the outer surface of this piece, and there is some minute root marking as well. In addition, this piece was polished in antiquity, and has a bright surface. This piece is also intact, with no repair/restoration, and has a small excavation mark on the back side. This piece is a "mother goddess" type, and is seen seated and holding her hands to her breasts. This attractive piece is also likely a fertility type piece, as this "mother goddess" emphasizes her breasts that are full of "mother's milk". This piece also emphasizes the Chontal culture artistic style which shows coffee bean eyes, double-line lips, square nose, and incised lines for the fingers and toes. This piece also shows the head slightly angled to the left, which offers this piece a more animated appearance. The Chontal culture is also contemporary with the Mezcala culture, and the design of the Chontal figurines have more rounded and defined features than the Mexcala culture, which tend to have very angular lines and features. The type of piece seen here is scarce to rare, and is not often seen on the market. This piece can also stand by itself, and simply sits on the included display base. (For the type see: Carlo Gay and Frances Pratt, "Mezcala", Geneva, 1992.) Ex: Private New York collection, circa 1980's. Ex: Howard 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 #1286571
Apolonia Ancient Art
$2,865.00
This scarce to rare piece is a Mayan terracotta model of a throne, which dates circa 600-900 A.D. This piece is approximately 3.4 inches high, by 6.4 inches long, by 3.2 inches wide. This piece is made from four molded pieces, and the details and images seen on this piece were mold pressed into the terracotta. The front side of this piece shows a facing god figure, who also appears to be supporting the weight of the upper panel. The upper panel also shows two square "mat designs" which each show twelve boxes with a "spiral" symbol within. This "spiral" symbol is likely depicted as meaning "CH'ICH", meaning "blood", and/or "blood offering". This symbol also makes perfect sense for this piece, as this piece may also portray an offering altar, as well as portraying a throne that may have supported a seated figurine. The two holes seen at the top may be for pins to help support a seated figurine, but they may also represent holes that were used to drain the blood from the two panels, and this blood would then drip down below the altar and to the underworld gods below. According to the Mayan belief of blood offerings, each drop of blood would nourish the gods and the earth, ensuring a new abundant maize harvest that would feed the people and provide wealth for the court. If this was the case regarding this piece, then this piece likely is a votive representation of an offering altar where bloody offerings were placed for the gods, and this type of altar may also have doubled as a sacred throne for a Mayan royal personage. The emerging facing god seen at the front of this piece, may be a frontal version of the "War Serpent God", otherwise known as the "Jaguar-Serpent-Bird God". This composite image is primarily associated with warfare, and was a popular image with the Maya at Piedras Negras and Chichen Itza. The image seen on this piece also has feathers above each extened arm, jaguar-paw hands, a double necklace, large round ear-flares, and a nose guard attachment. (For the type of god seen here, see "The Gods and Symbols of Ancient Mexico and the Maya" by Mary Miller and Karl Taube, Thames and Hudson1993, pp. 104-105.) This piece is 100% original, and was repaired from four large fragments. There are also minute black spotty mineral deposits seen in various sections of the piece. This type of votive piece is seldom seen on the market, and also displays a Mayan god that is seldom seen. Ex: Private New York collection, circa 1980's. Ex: Howard Rose collection, New York, circa 1990's. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : 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 #594176
Apolonia Ancient Art
$2,875.00
This Chavin/Cupisnique water carrier is an early type Chavin ceramic and dates circa 900-600 B.C. This piece is intact and is in mint condition with no stress cracks and/or breaks. This large piece is approximately 12.1 inches high, and has a cream and light red polychrome glaze. There is some light brown burnishing seen mostly on the bottom, and there is also a very small drill hole that is seen that was done for a thermoluminescence test (TL test). This TL test was done by the prior private collector in Germany, and it was done by Kotalla Laboratory. This document is included with this piece.(The results of this test place this piece circa 600-400 B.C.) This cute piece has a friendly warm smile and projects an easy going carefree feeling. The design of the face is very simple, and comic-like, but this was probably the intent of the potter/artist. This type of piece is rare for an Andean ceramic, as most Andean cultures such as the Chavin and the Moche were based on a warrior cult that used live captives for sacrifice. The Chavin/Cupisnique produced some of the first and finest ceramics in ancient Peru, and the stirrup-spout seen on this vessel was their invention. This allowed the Chavin/Cupisnique potters to move this piece around in the kiln with a stick, and they were able to produce pieces that had bright colors with even glazes such as this piece. This water carrier may be a representation of a person, but more likely, it is an anthropomorphic form represented as being from the spirit world. There is also a face seen at the front of the main body of the vessel that may double as a clothing design. This piece may also be from the "Cupisnique" culture as noted by Richard Berger in "Chavin and the Origins of Andean Civilization", page 90-99. He notes that this type of ceramic, with it's trapezoidal arch and single spout with the flaring end, are creations of the initial phase prior to the appearance of what we know as true Chavin style ceramics. The TL test seems to support this view. Most early pieces of this type have simple line design details for the eyes, nose, and other facial features/body design as this piece shows. This Chavin/Cupisnique piece is a rare, early type and is a large example. Ex: Private German collection. Ex; Private CA. collection. (Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1161912
Apolonia Ancient Art
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This superb piece is an Aztec red and black goblet that dates circa 1400-1525 A.D. This attractive piece is approximately 7.25 inches high, and has a two tone thick polychrome glossy glaze. This piece stands on a high red foot, and has an inverted bell shaped cup that has a wide black band. Another red band is seen below the upper lip and extends down inside the cup from the rim about .5 inches. This vibrant colored polychrome glaze, seen around the rim and extending down inside the cup, allowed one to drink from a smooth surface and is another indication that this piece was made for an important individual. This piece has vibrant colors, and has scattered minute black mineral deposits. This intact piece is in superb condition, has no repair and/or over paint, and has an exceptional thick glossy polychrome. The Aztec red and black polychrome ceramics are all rare to scarce, and are all finely made pieces with vibrant colors. These red and black ceramics obviously appealed to the Aztec sense of artistic taste and style. On the bottom rim, there is a painted number, 8928, which is from the Stendahl Gallery, Los Angeles, CA. Ex: San Diego, CA. estate collection, circa 1950's-1960's. Ex: Stendahl Gallery, Los Angeles, CA. (Inventory #8928.), circa 1970'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 : Metalwork : Pre AD 1000 item #1113765
Apolonia Ancient Art
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This rare piece is a silver Inka Empire atlatl thumb grip, which is an important component of a wooden atlatl. This piece dates circa 1450-1550 A.D., and is approximately 1.1 inches wide by 1.5 inches high. This x-rare to rare piece was cast in silver, and was then hammered into its present form. This piece has a bar at the bottom that was imbedded into a round wooden rod, and then was tied into place. This round wooden rod, known as an atlatl, had a slot that ran down the center which held a spear. (See attached photo of an atlatl which is seen in the Museo de Oro, Lima. Approximately 20.5 inches long.) The atlatl was a weapon that was an important addition to the Royal Inka army, as it enabled the thrower of the spear to more than double the throwing distance of the spear. The atlatl placed additional torque to the back end of the spear, and the thump grip enabled the holder of the atlatl to transfer more power into the act of the throwing the spear. The thumb was the last contact point on the atlantl on the hand of the thrower, and the addition of the thumb grip enhanced the power of the atlantl a great deal. This weapon was one of the principle reasons that enabled the Inka Empire to expand as rapidly as it did, and as this piece is made from silver, this piece was likely made for the Inka Imperial Army. Most of these thumb grips are simple wooden pegs, or are sometimes found in bronze. (For some additional bronze examples see: "Peru Durch de Jahrtausende, Kunst Und Kultur Im Lande Der Inka", by Ferdinand Anders, Verlag Aurel Bongers Pub., 1984, nos. 12.60-12.62. See attached photo.) The piece offered here has a face that has a feathered crest at the top, and the upper portion of this piece is slightly turned to one side to accommodate the thumb of a right-handed thrower. This piece is a complete example and has no repair/restoration. This piece also has a nice dark gray patina, has a great deal of eye appeal, and was authenticated by Mr. Robert Sonin, New York. A custom wooden display stand is included. Ex: Joe Rose collection, New York, circa 1970's. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #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 #1239527
Apolonia Ancient Art
$3,275.00
This rare piece is a Salinar/Viru culture monkey "transformation" type vessel that dates circa 400-200 B.C. This piece is approximately 9 inches long by 7 inches high, and is in superb condition with no repair/restoration. This piece is a standing quadruped with a stylized lobed monkey's head, and a short tail is seen curled at the back. This piece is seen standing on sturdy legs, with each flank painted with mythical creatures that have bared fangs and claws. The whole piece is covered with a light yellow-brown slip, and the mythical creatures and facial elements are painted in a light reddish-orange color. This piece is also a "stirrup-handle" type piece that is also designed as a "whistle" type vessel, as it makes a shrill sound when one blows into the raised end of the handle, and as such, this vessel was also likely a "ceremonial" type vessel. In addition, this piece also represents a "transformation" type vessel, as the stylized lobed head on the monkey has human and animal features. This rare early Andean culture ceramic may also be a prototype for the subsequent Moche I ceramics, and as such, this type of piece set the standard for Andean ceramics that have a great deal of realism regarding both human and animal representations. This piece also has some spotty light brown mineral deposits, and is a superb example for the type that is seldom seen on the market. Another analogous example of this culture is seen in Lempertz Pre-Columbian Art, Brussels, Jan. 2010, no. 49. (See attached photo. The Lempertz example also has an analogous painted mythical creature on the flanks as the piece offered here, and both of these pieces may have been produced in the same workshop.) This type of piece is x-rare to rare, and has a high degree of eye appeal. Ex: Dr. Ernst J. Fischer collection, Germany, circa 1980's. Ex: Auktion Ketterer 163, 1986. Ex: Private German collection. Note: Additional documentation is available for the purchaser, including a TL test from Gutachten Lab., 01/14/1991, no. 369012. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1177558
Apolonia Ancient Art
$3,275.00
This interesting Moche ceramic dates circa 300-500 A.D., Moche III-IV periods. This superb piece is approximately 9.25 inches high, and is in intact condition with vibrant colors. This piece has some attractive light brown burnishing on the vessel, and has reddish-brown painted highlights over a cream background. This piece has a conical projection from the top of the vessel, and an attached red stirrup handle is seen on the side. This conical projection may represent a Moche ceremonial club, as it is very analogous in shape to the terminal end of a wooden ceremonial sacrificial club that was found in Tomb 1, 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. Immunological analysis of this wooden club indicated that it had been repeatedly drenched in human blood, and this club could have been used to ceremoniously break crania or other bones of victims. See attached photo. Another Moche stirrup-jar vessel with an analogous conical projection of this type is seen in "Moche Art of Peru" by Christopher Donnan, University of California, Los Angeles, 1978, pp.46-47, fig.65-66. This particuliar fineline vessel has a procession of warriors seen with war clubs, helmets, and small shields.) The piece offered here has a frieze of four red floral/reed groups, which are evenly spaced in the cream colored field that is seen around the main body of the vessel, and there is an avian above each. There is a red "center bar" symbol that divides this frieze into two parts, and in addition, there are two floral symbols seen on each side of the vessel on the upper shoulder. According to Donnan in the reference noted above on p.33: "In two-dimensional representation, plants are consistently shown in profile, with one notable exception: the blossoms on a flowering plant which often occurs in fresh water scenes are shown from above. (fig. 58)". The red "center bar" symbol noted above, was also a Moche convention of art to not only divide the frieze into two parts, but also to give the viewer a two-dimensional plane which offers the viewer of this frieze a view from above, along with a profile view as well. This "duality of portraiture" is seldom seen in Pre-Columbian art, and as such, this piece is a rare example of Moche fineline ceramics. In addition, the red "center bar" symbol also likely represents a "tie symbol", which simply is a rope and/or cloth that is seen 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 sacrifice; 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". This "tie symbol", along with the raised conical projection which may represent a ceremonial sacrifical club, are both symbols that point to the fact that this vessel was also likely a "ceremonial offering vessel" that was associated with the ritual of "offering and sacrifice". Ex: Sotheby's New York, Antiquities, Tribal, Pre-Columbian and Later Works of Art, June 1981, no. 41. Ex: Dr. Klaus Maria collection, circa 1981-2012. (Note: Additional documentation is available to the purchaser, including a TL test document from Gutachten Lab., no.481811, dated June 11th, 1983.) 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 : Pre AD 1000 item #1281362
Apolonia Ancient Art
$3,265.00
This superb vessel is a Moche stirrup vessel that dates circa 300-400 A.D., Moche III Period. This piece is approximately 7.5 inches high, and is in intact condition with vibrant dark red and cream colors. This striking vessel has some minute black spotty mineral deposits and root marking, and has a nice even glaze. This piece is a lustrous deep dark red stirrup vessel, with a cream colored body, and the decorative elements seen on the main body of this vessel are also rendered in a dark red color. These decorative elements are comprised of two anthropomorphic figures seen moving to the right, with snake-headed tails and trailing snake-headed headdress/ears; and three snakes, with one seen between the stirrup handle, and two others which act as a dividing panel for each of the moving figures. These moving figures are also seen with a serpent-like and/or Iguana-like head, and a single human leg and arm which are extended away from the body, and this Moche convention of art is meant to convey that these figures are in motion. In addition, these figures are seen holding a sacrificial tumi knife in each hand, which may be an indication that this vessel portrays a sacrificial scene, as these moving figures may also be portraying Moche priests in costume who are engaged in a ceremonial sacrificial scene as "spirit gods". These moving figures also appear to be confronting the two facing snakes, and these facing snakes may also be seen as "spiritual sacrificial victims". According to Christopher Donnan in "Moche Fineline Painting: Its Evolution and Its Artists", UCLA Fowler Museum, Los Angeles, Ca., 1999, p. 196-197, Donnan comments further on Moche ceramics of this type: "The paintings of several other artists are stylistically similar to those of the Madrid Painter and the Larco Painter. All are on similar stirrup spout bottles with red spouts and white chambers. Both the red and white slips on these bottles were well prepared. They are covered evenly and completely, with none of the underlying color bleeding through. They painted fineline designs in red slip and added details either by overpainting or the cut-slip technique. Careful burnishing produced a handsome surface luster. These features are very distinctive amoung Phase III painted vessels. Perhaps they were produced in a single workshop." (See attached photo from the above reference, Fig. 6.19, that shows an analogous spiritual figure as seen on the vessel offered here. This piece also shows this figure holding a sacrificial head by the hair. This piece was also classified as being stylistically similar to the Madrid Painter.) The piece offered here is very close stylistically to the Madrid Painter, and may be by this painter and/or an individual who worked in his workshop. Moche vessels of this type are now scarce on the market, as they were only produced during the Phase III Period, and are of an extremely high artistic style. Overall, this piece is a superb intact example with vibrant colors, and is also likely by the Madrid Painter and/or his workshop. Ex: Private German collection, circa 1970's. Ex: Dr. Klaus Maria collection, Germany, circa 1980-2012. (Note: Additional documentation is available to the purchaser, including a TL authenticity test document from Gutachten Lab, Germany, no. 219005, dated 05-15-1990.) 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 #824649
Apolonia Ancient Art
$1,375.00
This interesting piece is from the Jama-Coaque culture that lived in the tropical forest coast region of northern Ecuador near the Esmeraldas River. This area is also the region where the Spaniards first encountered the native South Americans. The piece offered here is approximately 10 inches high, dates circa 500 B.C.-500 A.D., and is intact, save for some missing coffee bean ends seen on the headdress and a very small section of the headdress behind the right ear, and this may have been done as this piece was a burial offering. These breaks appear to be very old, as there is wear in the break areas with burial deposits, and this may have been done to break the "mana" and/or magic of the piece for burial. The seated figurine may be a shaman that is seen wearing a headdress, shirt, earrings, and nose ring that are decorated with coffee bean symbols. He also has coffee bean designed eyes and is seen holding a lime pot in his right hand and in his left, a coca pod. (For the type see: "Pre-Columbian Art" by Jose Alcina Franch, Abrams Pub., New York, 1983, no. 595.) There are traces of painted designs seen on the lower legs, headdress, and skirt. This piece has spotty black mineral deposits and some minute root marking. An example and type that is now scarce on the market. Ex: Private Arizona collection. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1236064
Apolonia Ancient Art
$1,675.00
This lively piece is a black ware Chimu ceramic that dates circa 900-1470 A.D. This piece is approximately 8.8 inches high, and is intact in superb to mint condition. This piece has an even deep black glaze, and has some white calcite deposits which are heavier in the low relief sections of the conical base. The conical base has three registers, which have impressed triangle and square designs, and the square boxes have "step-pyramid" designs seen within. The head of this duck also has a very lively designed eye, and there are two molded legs seen below as well. The designs seen on the conical base are also artistic hallmarks of the Chimu culture, and these designs and type of conical base are typical Chimu attributes. This piece is an exceptional example of Chimu blackware, and is an excellent animal type Chimu ceramic. Ex: Dr. Ernst J. Fischer collection, Germany, circa 1970's. (Note additional documentation is available to the buyer.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1260877
Apolonia Ancient Art
$4,675.00
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 : Pre AD 1000 item #1239297
Apolonia Ancient Art
$4,675.00
This extremely rare piece is a Chavin "stirrup handle" ceramic that dates to the Early Horizon period, circa 700-400 B.C. This piece is approximately 8.5 inches high by 7 inches long. This interesting piece is a standing animal, which represents a Coatimundi, or possibly a fox, as the lively head of this standing animal has an elongated nose and peaked ears. This piece is intact, has no repair/restoration, and is an orange and light red color. This esoteric piece is in overall superb condition, has some spotty black dotted mineral deposits, and some normal stirrup handle surface roughness. This piece has four large circle designs, and some geometric line design seen on each side, at the front, and on the face of this animated creature. The rectangular shaped head has dotted eyes, and is seen slightly tilted to the right, which give this piece a high degree of eye appeal and a very animated look. The mouth also appears to be slightly turned as well, and this movement noted with the head and mouth may represent this piece as a "transformation type" vessel. This type of artistic style, as noted above, is also attributed to the Chavin type ceramics known as "Tembladera style". This remarkable piece was produced at a very early period, regarding Pre-Columbian Andean cultures, and has a rare design with the esoteric curved hind quarter of the piece. This type of esoteric design is also rare regarding Chavin type ceramics, and is seldom seen on the market. A piece with analogous artistic style was offered in Bonham's Pre-Columbian Art, San Francisco, CA., Dec. 2006, no. 5352. (This stirrup vessel type piece has analogous line design, color, and nose design, and depicts a humanoid figure.) Another analogous stirrup type ceramic vessel was offered in Christie's Pre-Columbian Art, New York, Nov. 2006, no. 41. (This vessel depicts a jaguar with a slightly tilted head, peaked ears, and dotted eyes. The head is also a triangular designed head with an elongated snout, and this head is also turned to the right. This piece is classified as "Tembladera", circa 700-400 B.C. $4,000.00-$6,000.00 estimates, $4,800.00 realized. See attached photo.) The piece offered here is an esoteric design that is seldom seen on the market, and it is extremely rare in it's intact condition. Ex: Private German collection, circa 1970's. 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 : 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 #812519
Apolonia Ancient Art
Price on Request
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 : Pre AD 1000 item #1295673
Apolonia Ancient Art
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This scarce Pre-Columbian piece is a Mayan cylinder that dates Late Classic, circa 550-950 A.D. This attractive piece is approximately 6.25 inches high, by 4.75 inches in diameter. This superb to mint quality vessel is a "Molded Orangeware Vessel", El Salvador/Honduras 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 running Mayan priest/dignitary holding an elongated rectangular object in his extended right hand, and the other panel shows the exact same image, as it was stamped with the same mold. This running Mayan priest/dignitary, seen within both panels, has 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, a sashed loincloth, and has a smoke scroll emerging from his forehead. There is also a stippled woven mat pattern seen in the background, and the overall composition on both panels have sharp details and is better than most examples. The image within one panel is slightly sharper than the other, as the same mold was used to stamp each side. This intact piece has some spotty black dotted mineral deposits, some minute root marking, and some attractive dark brown burnishing. 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: