Superb Mayan Copador Olla Bowl with Seated Chiefs
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Pre AD 1000 item# 1023605
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Apolonia Ancient Art
303-321-7351 gallery
$1,875.00
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This superb olla bowl is a Mayan "Copador" piece that dates to the Late Classic period, c. 650-850 A.D. The name "Copador" is a contraction of Copan and El Salvador, which is a reference to it's zone of distribution. This intact piece is approximately 5.25 inches high by 7.5 inches in diameter, and is in superb condition, with a nice vibrant glaze and color which is much better than most examples. There is some very minor minute spotty surface pitting, and this is normal for a piece of this type. Overall, this piece is one of the top conditioned vessels of this type, and there are very vibrant colors, which are painted in light red and black on an orange and beige ground. There are seven seated chiefs/nobles seen facing left with speaking glyphs, which are seen at the front of six of these seven regal individuals. The Mayan artist painted this vessel from right to left, and did not have enough room for the final speaking glyph, but he did leave a single red dot at the front of the seventh painted seated chief/noble, and this red dot may have signified his final brush stroke. Many "Copador" vessels do display this type of composition, with some repeating elements missing from the entire composition, and the composition seen here was probably planned in advance of the painting. The row of the seated chiefs/nobles is seen above a single red band ground line and a band of black triangles, which may also be pyramid symbols. The olla shape of this superb vessel is a scarce type, and not often seen on the market, as the most common type of "Copador" bowl is the type with a flat bottom and flared wall. (For the types of "Copador" ceramics, see "Maya" by Peter Schmidt Ed., Rizzoli Pub., New York, 1998, pp. 646-647.) The distribution of the "Copador" ceramics extended from western El Salvador to the central zone of Honduras, and this supports the theory that there was a sophisticated trade network in this region during the Late Classic period. This vessel not only was used in trade, but was also used solely as a votive type piece, and this may be the case of the piece offered here due to it's superb condition. Ex: Erasmo Toledo collection, Coral Gables, Fl. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Esoteric Colima Jadeite Geometric Figurine
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Pre AD 1000 item# 1023124
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Apolonia Ancient Art
303-321-7351 gallery
$1,865.00
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This superb piece is a solid stone figurine that is attributed to the Colima culture, and this piece dates circa 100 B.C.-250 A.D. This piece is a beautiful dark to light green jadeite with light blue highlights, and is in mint condition with a highly polished surface from antiquity. There are some spotty dark brown and minute white calcite deposits seen over this polished surface, and this piece is approximately 3.7 inches high. The Colima culture dwelled in the West Mexican region of Mexico, near modern day Manzanillo and Colima. The Colima culture is known as a "shaft-chamber" tomb culture, and many large scale ceramics were recovered intact, as they were protected from the elements. The majority of ancient art produced by this culture were ceramics, rather than stone objects, and according to Michael Kan in "Sculpture of Ancient West Mexico, A Catalogue of the Proctor Stafford Collection at the Los Angeles County Museum of Art", University of New Mexico Press, 1989, p.24: "In addition, there are a number of small objects in shell (no.200) and stone (no.203), which are said to have been found with classic Colima figures". (No. 203 noted above, which is listed as a highly polished blue-gray jadeite seated male figurine, 2.25 inches high, has the following description: "These extremely rare, small stone effigies are reported to be found occasionally in tombs along with ceramic pieces." See attached color photo of this piece which is seen in the Foreward.) The extremely rare piece offered here also has five shallow bow drilled holes; one for each eye, one below the "v-shaped" chin, one in the stomach area, and one at the flat top of the head. The shallow bow drilled holes and the geometric designed line cuts, seen on the the piece offered here, are also very analogous to the example noted above. The geometric design of this piece is readily evident, as there is a square box "line-cut" design seen on the backside of this esoteric piece, and straight verticle cut lines on the front side that form the arms, legs, and nose of the figurine. This piece also fits very well into the palm of the hand, and may be a shaman's stone. This piece also has a flat bottom and easily stands by itself. A custom display stand is also included. Ex: Private Florida collection. Ex: Robert and Mary Ann Huber collection, Dixon, Ill. I certify that this piece is authentic as to date, culture, and condition:
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Massive Mayan Tripod Plate with Standing Warrior
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Pre AD 1000 item# 1020554
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Apolonia Ancient Art
303-321-7351 gallery
Price on Request
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This massive piece is a Mayan tripod plate that is approximately 3.6 inches high by 17 inches in diameter. This impressive piece is from the Campeche region of the Yucatan Peninsula in Mexico, and dates to the Late Classic period circa 600-950 A.D. This light brown ceramic piece was repaired from several fragments, as is usually the case for a piece of this size, and it is 100% original. The only noted over paint is seen over the break lines, and the colors are very vibrant, and this polychrome piece is a bright orange with red and black highlights. There are also sections of this piece that have very attractive and extensive root marking. This piece shows a standing warrior wearing a feathered ceremonial headdress and belt, and he is seen holding a feathered war lance that also includes a round black military standard. The standing warrior is also seen looking up at this round standard, and he is depicted in profile. This design also draws the viewer's eye to this military standard, and emphasizes the importance of this symbolic standard. A black spotted ceremonial jaguar pelt, with an enlarged painted face, is also seen draped over his upper body. According to the Mayan "Cronica de Tizimin", the spreading of a ceremonial jaguar pelt in the market was a declaration of war, and the army was headed by a standard-bearer who carried a tall banner. The warriors also painted their faces and bodies black to appear more fierce, and this is the case of the black painted standing warrior seen on this exceptional piece. In the center of the army there was also the chief (cacique), together with the two high ranking nobles in the military: the "nacom", who was the supreme military commander, and the "batab". The war generally came to an end when the "nacom" was dead or captured. The massive piece offered here is one of the largest known Mayan plates of this type, and other extremely rare large examples have been found in the Campeche and Quintana Roo regions of the Yucatan. The artistic style of this piece is also analogous to a cylinder vessel found on Jaina Island, Campeche, that depicts two standing warriors with black body paint, who also have an analogous distinctive triangular eye with a single dot within. It is quite possible that the massive piece offered here, and the cylinder vessel noted above, could have been from the same workshop and/or was produced in the immediate area. The exceptional piece offered here may also have been produced as a reference to a Mayan regal declaration of war, and as such, may have been associated with this ceremony. (See an attached photo of the cylinder vessel noted above, which is also seen in "Maya" by Peter Schmidt ed., Rizzoli Pub., New York, 1998, p. 540, no. 93.) The piece offered here was also repaired by the Denver Art Museum, which also shows where the break lines are, and a thermoluminescence test (TL) was performed, no. 6647. This piece was also deaccessioned from the Denver Art Museum circa 1995, inventory no. 1984.661. This large extremely rare piece has a great deal of eye appeal, not only because of its massive size, but because of the bright colors which are very vibrant. Ex: Mr. and Mrs. Morris A. Long collection. Ex: Denver Art Museum collection. Ex: Private CA. collection. (Additional documentation is available for the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
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PC Art of Mexico & Central America Book: Mint Copy
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Fine Art:
Contemporary item# 1010631
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Apolonia Ancient Art
303-321-7351 gallery
$375.00
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This "Pre-Columbian Art of Mexico and Central America" book by Hasso von Winning is in mint condition, and is a "must have" reference book for collectors, museum curators, and art history students of Pre-Columbian art from Mexico and central America. This crisp, mint first edition is lavishly illustrated with superb examples from all the primary cultures of the entire Central American and Mexican region. This book is organized first by geographic area, and within that area, the primary cultural groups are classified in chronological order. There is a brief overview of the archaeology of each primary geographical area, and then a discussion of the highlights of the artifacts in that area all by chronological order. Each object is photographed in the book, many in beautiful color, and by professional art photographers. In addition, each object is accurately described with its date and dimension. Many of the objects were published for the first time in this book, and many of the objects are from private collections from around the world. It is important to note that this book was published prior to the US and UNESCO patrimony regulations. This book is also utilized by the major auction houses such as Sotheby's, Christies, and Bonhams as a primary reference for objects represented at auction. This book is also the companion book for "Pre-Columbian Art of South America" by Alan Lapiner. The book offered here was published in January 1968 by Harry N. Abrams, Inc., 388 pages with text, 595 illustrations, 175 photos in full color and many are mounted. Hardbound with dust jacket, including the clear protective cover for the dust jacket. ISBN: 0810904233.
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Pre-Columbian Art of South America Book: Mint Copy
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Contemporary item# 1007455
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Apolonia Ancient Art
303-321-7351 gallery
$575.00
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This "Pre-Columbian Art of South America" book by Alan Lapiner is in mint condition, and is a "must have" reference book for collectors, museum curators, and art history students of Andean Pre-Columbian art. This crisp, mint first edition is lavishly illustrated with superb examples from all the primary cultures of the entire South American continent. This book is organized first by geographic area, and within that area, the primary cultural groups are classified in chronological order. There is a brief overview of the archaeology of each primary geographical area, and then a discussion of the highlights of the artifacts in that area all by chronological order. Each object is photographed in the book, many in beautiful color, and by professional art photographers including Justin Kerr. In addition, each object is accurately described with its date and dimension. Many of the objects were published for the first time in this book, and many of the objects are from private collections from around the world. It is important to note that this book was published prior to the US and UNESCO patrimony regulations. This book is also utilized by the major auction houses such as Sotheby's, Christies, and Bonhams as a primary reference for objects represented at auction. This book is also the companion book for "Pre-Columbian Art of Mexico and Central America" by Hasso von Winning. The book offered here was published in August 1976 by Harry N. Abrams, Inc., 460 pages with text, 910 illustrations, 225 photos in full color and many are mounted. Hardbound with dust jacket, including the clear protective cover for the dust jacket. ISBN: 0810904217.
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La Tolita Terracotta Votive Simian/Shaman Mask
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Pre AD 1000 item# 905917
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Apolonia Ancient Art
303-321-7351 gallery
$765.00
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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:
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X-Rare Carved Mayan Bottle with Palenque Triad Glyphs
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Pre AD 1000 item# 902203
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Apolonia Ancient Art
303-321-7351 gallery
$3675.00
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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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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
$3875.00
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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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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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Powerful Mayan Green Stone Pectoral Mask: X-Rare
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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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Superb Moche Lizard Stirrup Vessel
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Pre AD 1000 item# 809739
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Apolonia Ancient Art
303-321-7351 gallery
$1275.00
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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:
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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
$1,865.00
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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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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.
Catalogue:
Antiques:
Regional Art:
Americas:
Pre Columbian:
Pottery:
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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Attractive Ceremonial Chimu Silver Offering Bowl
Catalogue:
Antiques:
Regional Art:
Americas:
Pre Columbian:
Metalwork:
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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