Apolonia Ancient Art Antiques,Regional Art,Americas,Pre Columbian,Pottery - catalog page 1

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Catalogue: Antiques: Regional Art: Americas: Pre Columbian: Pottery (10)

La Tolita Terracotta Votive Simian/Shaman Mask Catalogue: Antiques: Regional Art: Americas: Pre Columbian: Pottery: Pre AD 1000 item# 905917
click for details		Apolonia Ancient Art 303-321-7351 gallery $765.00
This dramatic piece is from the La Tolita culture that is from northern Ecuador, Esmeraldas region. The La Tolita culture takes its name from a famous site that is located on an island at the mouth of the Santiago River. This superb piece dates circa 400 B.C.-300 A.D., is a light brown terracotta, and is approximately 3.75 inches high by 4 inches wide. This piece is a mask that depicts a simian and/or shaman, and the expression is quite dramatic, as the fine detail of the teeth and nose is easily seen. What makes this mask so interesting is that this mask may represent a simian in a state of transformation, from animal to man, or vice-versa, and it may also represent a shaman with a mask who is seen representing this state of being. This transformation may also have been drug induced, as this culure was known to have used drugs in ceremony. This mask is also votive, and may have served as a spirit mask for a mummy bundle or effigy. There are several holes that run around the edge of this piece that may have been used for attachment. This piece is intact, and has no repair/restoration. There is also some original light white paint that is seen in some of the sections of this piece, along with some spotty dark black/brown mineral deposits. This piece is better than most examples that have been on the market, and is analogous to the example seen in the Museo Arqueologico y Galerias de Arte del Banco Central de Ecuador, Quito. (See "Pre-Columbian Art" by Jose Alcina Franch, Abrams Pub., New York, 1983, p. 432, no. 573.) This piece comes with a custom black plexiglas stand, and can easily be removed, as the mask simply hangs from a pin. Ex: Peter Hacintos collection, New York. Ex: Private Florida collection. I certify that this piece is authentic as to date, culture, and condition:

Superb Chimu/Inka Recumbent Llama Stirrup Vessel Catalogue: Antiques: Regional Art: Americas: Pre Columbian: Pottery: Pre AD 1000 item# 807122
click for details		Apolonia Ancient Art 303-321-7351 gallery $1,865.00
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:

Superb Moche Lizard Stirrup Vessel Catalogue: Antiques: Regional Art: Americas: Pre Columbian: Pottery: Pre AD 1000 item# 809739
click for details		Apolonia Ancient Art 303-321-7351 gallery $1275.00
This superb ceramic is from the Moche culture that dwelled in northern Peru and dates circa 50-200 A.D. This piece is classified as being Moche I period, circa 50-200 A.D., due to the design of the stirrup spout that has a thick lip. The Moche ceramics from this period often have a cream colored glaze with red highlights, as this vessel also displays. This intact piece is approximately 8 inches high and is in superb condition, with no over paint, repair, and/or restoration. There is also a small pebble inside this ceramic, and this vessel may have served as a ceremonial rattle. This cute piece has a vibrant red line-designed lizard seen on both sides, and there are red dots that surround each lizard. These red dots represent seeds of the acacia tree, which are closely related to the hallucinogenic anadenanthera colubrina, which are believed to have powerful medicinal properties. The lizards that are native to the desert scrub brush land of northern Peru subsist exclusively on these seeds, and its thought the Moche consumed these lizards believing that they would derive the benefits of the acacia seeds. (For the ceramic type see "Moche Art of Peru" by Christopher Donnan, University of California, 1978, page 142.) The lizard was also a creature worthy of depiction, as lizards shed their skins, and this trait makes them symbolic of regeneration. This piece is an interesting work of Moche line-designed art that is not often seen on the market in this superb condition. Ex: Private CA. collection. Ex: Arte Textil, San Francisco, CA. I certify that this piece is authentic as to date, culture, and condition:

Early Chavin/Cupisnique Water Carrier: 900-600 B.C. Catalogue: Antiques: Regional Art: Americas: Pre Columbian: Pottery: Pre AD 1000 item# 594176
click for details		Apolonia Ancient Art 303-321-7351 gallery $2875.00
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:

Rare Moche Sacrificial Rite Vessel with Six Figures Catalogue: Antiques: Regional Art: Americas: Pre Columbian: Pottery: Pre AD 1000 item# 853880
click for details		Apolonia Ancient Art 303-321-7351 gallery $3275.00
This rare vessel is from the Moche culture, that dwelled in modern day northern Peru, dates circa 500-700 A.D. and is from the Moche IV phase of ceramic development. This piece is intact with no repair/restoration, is in superb condition, and is approximately 8.25 inches high. This red-brown and cream colored ceramic is a rare piece, as it is a type of vessel known as a "sacrificial rite vessel". This piece has six figures on the vessel including a Moche standing owl deity seen at the center, a sea lion, a cormorant, a hooded male figure, an ocean skate(?), and a crab. All of the five figures that run around the main body of this stirrup-type vessel are all seen emerging from the background, and may represent their emerging into or from the spirit world. These figures are seen in high relief from the main body of the vessel, as they were individually mold made, and this production process took a great deal of skill and time relative to intregrating these images into the production of this ceramic. The standing owl deity seen at the center, which may also represent a priest in costume, is also the Moche deity that is seen in the "Presentation Theme", which is a Moche ceremony of sacrifice as defined by Christopher Donnan. (See "Moche Art of Peru" by Christopher Donnan, University of California, Los Angeles, CA., 1978, pp.158-174.) This Moche owl deity, seen in the "Presentation Theme" as defined by Donnan which is also identified as "Figure B", is a priest seen in an owl-hooded costume holding a goblet with blood from the sacrifice. There are also other known Moche ceramic vessels that portray this figure, as seen in the work noted above (Nos. 248 and 271.). The owl was sacred to the Moche because of it's night vision and sharp hunting skills at night, and because of their nocturnal nature, they were associated with death and were thought to travel between the living and spirit world. There are examples of Moche ceramics with a captive tied to the back of the owl, and this may represent the owl carrying the captive to the other world. The standing owl, seen in combination with the five figures that run around the main body of this vessel, are all related to Moche ceremony and sacrifice. The active red-brown sea lion depicted on this piece shows several round objects, seen at the front of the eye and on the stomach area, and are round stones that the sea lions frequently cough up when they are hunted. These stones were considered sacred by the Moche and were thought to have extremely powerful medicinal properties. The lively artistic style of the sea lion is exceptional, and has a great deal of expression. The hooded male figure, seen at the front of the vessel, may represent a sacrificial victim. It is interesting to note that one of the owl's feet appear to grip and morph into the hood that is seen on the male figure that is placed just below the body of the owl. The crab is also interesting in that the crab has anthropomorphized human-like eyes. The owl is also thought to represent the "magical flight" ecstatic trance state that was performed by Moche shamans and priests. (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:

Massive Moche Seated Royal Prisoner Catalogue: Antiques: Regional Art: Americas: Pre Columbian: Pottery: Pre AD 1000 item# 621516
click for details		Apolonia Ancient Art 303-321-7351 gallery On Hold
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:

Mayan Finely Carved/Lidded Cylinder Glyph Vessel Catalogue: Antiques: Regional Art: Americas: Pre Columbian: Pottery: Pre AD 1000 item# 594979
click for details		Apolonia Ancient Art 303-321-7351 gallery Sold
This nice Mayan carved and lidded cylinder vessel dates circa 200-400 A.D. and is an early Mayan ceramic. This piece is approximately 8 inches high with the lid and 5.25 inches in diameter at the base. This piece has an architectural design that denotes this vessel as having Teotihuacan stylistic features. The architectural design is seen in the pyramid step knob and quetzal bird feather design on the lid, and the dot pattern bands seen on the top and bottom of the main body of the vessel. These features are prominently seen in the pyramids seen at Teotihuacan just outside of Mexico City. The quetzal bird feather design also is representative of Quetzalcoatl, the chief Aztec and Toltec god of the wind and air, who is known and represented as a feathered serpent. This piece has two identical deeply carved Mayan glyphs seen on each side of the vessel and there are traces of red cinnabar seen in the low relief lines of the design. This piece sits on three legs and the main body is slightly flared, which also denotes this vessel as an early Mayan ceramic. This piece is a light brown terracotta and has spotty black magnesium deposits, both on the outside and inner surfaces, and they are much heavier on the inside of the vessel. The lid rests perfectly on the main body and does not overlap the top rim of the main body. The matching deposits, seen both on the lid and the main body, show that the lid does go with this piece. This lid design also is an indication that this vessel was made solely as a grave offering. The shape is very esoteric, as the the main body has a flared rim and the glyphs are readily seen due to the deep carving. This piece is 100% original and was repaired from two large fragments. A nice Mayan vessel with great eye appeal. Ex: Private Florida collection. I certify that this piece is authentic as to date, culture, and condition:

Fine Mayan Carved Stucco Cylinder Vase Catalogue: Antiques: Regional Art: Americas: Pre Columbian: Pottery: Pre AD 1000 item# 592753
click for details		Apolonia Ancient Art 303-321-7351 gallery Sold
This finely carved Mayan cylinder vase dates circa 600-800 A.D., and is from the northern Peten/Palenque region. This intact piece is approximately 6.7 inches high, by 4.2 inches in diameter. This superb 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 fine detailed 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 substitution. 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. God K also 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, as seen on the exceptional piece offered here, 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 extensive root marking. This piece is 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:

Jama-Coaque Seated Shaman with Coffee Bean Symbols Catalogue: Antiques: Regional Art: Americas: Pre Columbian: Pottery: Pre AD 1000 item# 824649
click for details		Apolonia Ancient Art 303-321-7351 gallery $1375.00
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:

X-Rare Carved Mayan Bottle with Palenque Triad Glyphs Catalogue: Antiques: Regional Art: Americas: Pre Columbian: Pottery: Pre AD 1000 item# 902203
click for details		Apolonia Ancient Art 303-321-7351 gallery $2675.00
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:

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