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Fine Mayan Carved Stucco Cylinder Vase
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Pre AD 1000 item# 592753
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Apolonia Ancient Art
303-321-7351 gallery
$4800.00
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This finely carved Mayan cylinder vase dates circa 600-800 A.D., and is from the northern Peten region. This piece is a tan terracotta and has the remnants of a stucco application; a purple stucco seen at the rim, and a blue stucco seen between the upper glyph band and the two registers below, and in the band that separates the two registers. The effect of the purple and blue stucco was to separate and highlight the carved sections of the piece. This stucco may have been added when the piece was made or long after it's production. The stucco does define this vessel as having an important religious function, as most Mayan stucco vessels have important glyphs and symbols. The glyph band seen at the top is a hieroglyphic text known as the Primary Standard Sequence (PSS). The PSS has been identified by Michael Coe as being comprized of thirty-five glyphs, with text length ranging from four to twenty-two glyphs that reflect underlying rules of sequencing and subtitution. The first part of the PSS has little variation, but the second part exhibits greater variability that is now known to reflect generalized glyphs and sometimes unique names and titles of specific owners/patrons of the vessel. The glyph band here is complex, and the thirteen glyphs within may name an important royal person, as this glyph band has not been deciphered and is unknown. What is known, is that the two registers below each show the Mayan God K "Kawil", seen within the cross-shaped Mayan symbol, who was the principle Mayan god that was particularly important to elite lineages and to rulers. His portrait glyph, as seen here, often appears in ruler's names. He forms the scepter that is seen in Mayan art relative to accession, blood sacrifice, and self-inflicted bloodletting. As one of the brothers of the "Palenque Triad", he was also associated with the connection of the Mayan elite with Xibalba, which was the Mayan spirit world. The cross-shaped symbol represents a Mayan doorway, or portal to Xibalba, and this symbol can be traced back to the Olmec. (See "The Ancient Americas", The Art Institute of Chicago Pub. 1992, and the article "Order and Nature in Olmec Art" by Beatriz Fuente, page 121.) This portal symbol seen here is rare relative to Mayan ceramics, and has been associated only with the most important of Mayan monuments such as the sarcophagus lid of Pacal in the Temple of the Inscriptions at Palenque, Mexico that was discovered in 1949 by Alberto Ruz. God K and the portal symbol taken together, probably point to the fact that this piece was made only as a burial offering for an important Mayan noble, possibly of royal blood and may have been used in a Mayan blood ceremony. The added stucco seen on the vessel may also support this theory. This piece is finely carved, is in intact condition, and is of mint quality, save for two very minute stress cracks. The stucco seen on this piece is all original as well, and has root marking. One of the best Mayan carved stucco vessels of it's type. Ex: Private Florida collection. (Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
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Ceremonial Chimu Silver Offering Bowl
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Pre AD 1000 item# 592720
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Apolonia Ancient Art
303-321-7351 gallery
$1275.00
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This Chimu silver offering bowl is quite attractive and dates circa 1100-1350 AD. This piece is approximately 7.4 inches long by 4.75 inches wide by 2.3 inches high. This silver vessel was hammered from one single sheet of metal, and was formed into the rectangular shape seen here. This piece is slightly thicker at the base, and has a slightly thinner outer edge. This rectangular shape runs concurrent and continually through many Pre-Columbian cultures, and this type of vessel is seen as early as the Olmec circa 400 BC. This shape allows one to easily hold the vessel in one hand, rather than both hands as a round vessel often requires, and two dimples were added on each side for an added grip. This piece was likely used in ceremonies, rather than being created as a votive type vessel, and this may also explain the design of this vessel. An additional dimple was added so that the vessel stands upright and does not fall over. There is also a cross hatch design seen on the upper rim that is often seen on Chimu silver vessels. (See Sotheby's Pre-Columbian, Nov. 2006, lot #296, that shows a Chimu silver beaker with a cross hatch design on the upper rim.) This piece has spotty black magnesian deposits and checkered metal from age. The condition of this vessel is mint, and it is intact. Ex: Jean-Eugene Lions collection, Geneva, Switzerland. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Powerful Mayan Green Stone Pectoral Mask
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Pre AD 1000 item# 812519
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Apolonia Ancient Art
303-321-7351 gallery
Price On Request
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This nice power type piece dates circa 200-500 A.D., is from the Peten region of Guatemala, and is a Mayan green stone mask that 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 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 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 a "power" type object. This piece is mounted on a custom metal base and can easily be removed. This piece has also been authenticated by Mr. Robert Sonin and Mr. David Joralemon in New York, and was examined in great detail by both parties. 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:
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Large Votive Moche Bronze Tumi
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Pre AD 1000 item# 670361
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Apolonia Ancient Art
303-321-7351 gallery
$625.00
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This esoteric piece is from the Moche culture that lived in northern Peru circa 200-500 A.D. This piece was hammered from a solid sheet of bronze into a form that is known as a "tumi". The tumi is a power symbol that was associated with the Moche gods and the elite, as it is often seen on Moche ceramics and textiles. The tumi is also in the form of a sacrificial knife, which was used on live captives during blood rite ceremonies. The piece offered here is a votive example and was probably interwoven into the textiles of a mummy bundle. This piece is an extremely large example, as it is approximately 13.8 inches high, and there are very few examples that are of this size. This piece has nice dark green cuprite deposits and there are traces of textile fibers that have adhered to the outer surface. This piece has some strength, as it is about 1/8th inch thick, and it is not paper thin like most examples. The thickness of this piece does vary, as it was hammered in antiquity. This is also the reason why there is some deterioration at the rounded end, as this is the thinest section of the piece. This piece represents the power of the Moche and is highly symbolic. A custom plexiglas case is included, and the piece is seen hanging within the case and shows very well. Ex: Joel Malter collection, Los Angeles, CA. Ex: Private CA. collection. I certify that this piece is authentic as to culture, date, and condition:
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Rare Moche Sacrificial Rite Vessel with Six Figures
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Pre AD 1000 item# 853880
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Apolonia Ancient Art
303-321-7351 gallery
$3275.00
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This rare vessel is from the Moche culture, that dwelled in modern day northern Peru, dates circa 500-700 A.D. and is from the Moche IV phase of ceramic development. This piece is intact with no repair/restoration, is in superb condition, and is approximately 8.25 inches high. This red-brown and cream colored ceramic is a rare piece, as it is a type of vessel known as a "sacrificial rite vessel". This piece has six figures on the vessel including a Moche standing owl deity seen at the center, a sea lion, a cormorant, a hooded male figure, an ocean skate(?), and a crab. All of the five figures that run around the main body of this stirrup-type vessel are all seen emerging from the background, and may represent their emerging into or from the spirit world. These figures are seen in high relief from the main body of the vessel, as they were individually mold made, and this production process took a great deal of skill and time relative to intregrating these images into the production of this ceramic. The standing owl deity seen at the center, which may also represent a priest in costume, is also the Moche deity that is seen in the "Presentation Theme", which is a Moche ceremony of sacrifice as defined by Christopher Donnan. (See "Moche Art of Peru" by Christopher Donnan, University of California, Los Angeles, CA., 1978, pp.158-174.) This Moche owl deity, seen in the "Presentation Theme" as defined by Donnan which is also identified as "Figure B", is a priest seen in an owl-hooded costume holding a goblet with blood from the sacrifice. There are also other known Moche ceramic vessels that portray this figure, as seen in the work noted above (Nos. 248 and 271.). The owl was sacred to the Moche because of it's night vision and sharp hunting skills at night, and because of their nocturnal nature, they were associated with death and were thought to travel between the living and spirit world. There are examples of Moche ceramics with a captive tied to the back of the owl, and this may represent the owl carrying the captive to the other world. The standing owl, seen in combination with the five figures that run around the main body of this vessel, are all related to Moche ceremony and sacrifice. The active red-brown sea lion depicted on this piece shows several round objects, seen at the front of the eye and on the stomach area, and are round stones that the sea lions frequently cough up when they are hunted. These stones were considered sacred by the Moche and were thought to have extremely powerful medicinal properties. The lively artistic style of the sea lion is exceptional, and has a great deal of expression. The hooded male figure, seen at the front of the vessel, may represent a sacrificial victim. It is interesting to note that one of the owl's feet appear to grip and morph into the hood that is seen on the male figure that is placed just below the body of the owl. The crab is also interesting in that the crab has anthropomorphized human-like eyes. The owl is also thought to represent the "magical flight" ecstatic trance state that was performed by Moche shamans and priests. (This was described in 1638 by Antonio de la Calancha, in the historical Spanish document "Cornica Moralizada del Orden de San Augustin en el Peru, Con Sucesos Egemplares an esta Monarquia", Barcelona, Spain.) The ceramic offered here may represent the owl as presiding over the Moche sacrifices that are offered to the other world, due to the many attributes of the Moche owl deity as noted above, and as such is known as a "sacrificial rite vessel". One of the few examples of this type of vessel was offered by Arte Primitivo, New York, June 2005, no. 329 ($12,000.00-$15,000.00 estimates.) The vessel offered by Arte Primitivo is also red-brown and cream colored, 10.5 inches high, and is Moche IV phase. Ex: F. Hirsch collection, Germany. I certify that this piece is authentic as to date, culture, and codition:
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Superb Chimu/Inka Recumbent Llama Stirrup Vessel
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Pre AD 1000 item# 807122
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Apolonia Ancient Art
303-321-7351 gallery
$1,825.00
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This superb ceramic is in the form of a recumbent llama. This piece is from the Chimu/Inka period that dates circa 1470-1532 A.D. This period began with the conquest of the Chimu empire by the Inka circa 1470 A.D., and the period ended with the conquest of the Inka empire at the hands of Pizarro circa 1532 A.D. The Inka retained the Chimu craftsman, who produced remarkable ceramics, textiles, and metal work. This ceramic is relatively scarce, as the rise and fall of the Inka empire covered a span of only ninety years. This ceramic depicts a llama, which for the Inka, was the key component for the success of their empire. The Inka used llamas in transporting goods over great distances throughout their mountain empire, and the llama proved to be a very durable creature in this regard. This ceramic is made from a light brown clay, and has a red-orange color with tan highlights. The Chimu produced mostly blackware ceramics, but with the conquest of the Inka, they began to produce ceramics that were mostly red-orange in color and had black and white line design colors. (For other examples see "Pre-Columbian Art of South America" by Alan Lapiner, Abrams Pub. New York, 1976, no. 704-706.) The piece offered here has black line design elements that are centered over the belly of the llama, in addition to the central tan colored highlight which is seen here, and in addition, this tan color highlight is seen on the arched section of the stirrup handle. There is also a small and charming little primate that is seen at the junction of the stirrup handle, and this is the hallmark of many Chimu ceramics. The recumbent llama may also be in a state of gestation, and this may be why the rounded belly of the llama has the tan highlighted color. (For another example of this piece see "Chimu" by Jose Antonio de Lavalle, Banco De Credito Del Peru En La Cultura Pub., Lima, Peru, 1987, page 114.) This piece is intact with no repair/restoration and is approximately 8.25 inches high. This piece has some light brown burnishing and very minor glaze loss, and is in superb condition. A charming piece that best represents the Inka empire. Ex: Private CA. collection. Ex: Arte Textil, San Francisco, CA. I certify that this piece is authentic as to date, culture, and condition:
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Massive Moche Seated Royal Prisoner
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Pre AD 1000 item# 621516
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Apolonia Ancient Art
303-321-7351 gallery
Price on Request
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This massive seated Moche polychrome ceramic is approximately 18.25 inches high and is in superb condition. This piece has no over paint, the colors are all original, and it is intact, save for some very minor repair to some minor stress cracks in the main body. This piece dates circa 200-500 A.D. and is from the Middle Mochica period. (For the type see Christopher Donnan, "Moche Art of Peru", Museum of Cultural History, University of California, Los Angeles, 1978, no. 247.) This massive vessel is a seated prisoner who is seen facing forward with his hands clasped at the front. There is a rope seen around his neck and he is nude, as he was stripped of all clothing and jewelry, which was the custom for live Moche captives that were about to be sacrificed to the gods. This prisoner is probably royal, as he has large holes in the lower ear lobes that held large ear flares that the Moche elite were associated with, and his hands are at the front. Virtually all of these Moche prisoner ceramics have their hands tied behind their backs, but this prisoner is seen in a more dignified manner, and this may indicate his elevated status. The portrait of the royal person seen here may be one of an actual individual, as the Moche produced ceramics that are as realistic as a photograph, as they strove to depict actual living individuals. (For Moche production of true portraits of individuals see C. Donnan, "Moche Portraits of Ancient Peru", University of Texas Press, 2004.) The vessel seen here is an important example of Moche art, not only for the fine art seen, but also relative to the rare type. The seated prisoner with the hands in front may signify that he is pleading for his life, but more likely, he is offering himself to the gods. This is what truly separates this piece from other Moche ceramics of this type, and in addition, the head of this piece is as large and detailed as most singular Moche portrait-head vessels. This superb large scale piece has spotty black mineral deposits in sections of the vessel and has exceptional eye appeal. Ex: Kate Kemper collection, London. Ex: Private CA. collection. I certify that this piece is authentic as to date, culture, and condition:
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Costa Rican Jade Necklace with Celt God Pendant
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Pre AD 1000 item# 701988
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Apolonia Ancient Art
303-321-7351 gallery
$875.00
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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:
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Early Chavin/Cupisnique Water Carrier, 900-600 B.C.
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Pre AD 1000 item# 594176
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Apolonia Ancient Art
303-321-7351 gallery
$2875.00
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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:
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Jama-Coaque Seated Shaman with Coffee Bean Symbols
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Pre AD 1000 item# 824649
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Apolonia Ancient Art
303-321-7351 gallery
$1375.00
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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:
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