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Massive Moche Seated Royal Prisoner
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Antiques:
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Americas:
Pre Columbian:
Pottery:
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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Unique Greek Hellenistic (AE 23mm) Coin with Asklepios
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Antiques:
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Greek:
Bronze:
Pre AD 1000 item# 810315
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Apolonia Ancient Art
303-321-7351 gallery
$1275.00
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This mint state ancient Greek coin was minted in the Hellenistic period, and was minted in Pergamon circa 300-200 B.C. Pergamon became important under Alexander the Great, and later became the capital of the Attalid dynasty founded by Philetairos, which ranked as one of the great cultural centers of the ancient Greek world. The obverse shows the bearded bust of Asklepios, and the reverse, shows a standing Muse with a three-stringed lyre behind, and the Greek lettering meaning "Per-gamon" at the front and behind. The Muses were originally considered to be three in number: Melete ("Practice"), Mneme ("Memory"), and Aoede ("Song"). At Delphi, the Muses were named after the three strings of the early ancient Greek lyre: Bottom ("Nete"), Middle ("Mese"), and Top ("Hypate"). Hesiod, however, has ascribed the Muses to the traditional number of nine, and had allotted each of them a name. This remarkable coin has a wonderful Hellenistc portrait of Asklepios, and is in mint state ("as struck") condition which is rare for a Greek bronze issue. This coin is approximately 23mm in diameter and 6.3 gms, and has an exceptional glossy dark green patina. This piece is also extremely rare, if not unique, and is not listed in "Greek Coins and Their Values" by David Sear, Seaby Pub., London, 1979. This coin is not seen on the market, and is not only an extremely rare type, but is also an exceptional Hellenistic Greek work of art. I certify that this piece is authentic as to date, culture, and condition:
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Greek Silver Boat-Shaped Earrings with Rosettes
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Ancient World:
Greek:
Pre AD 1000 item# 944741
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Apolonia Ancient Art
303-321-7351 gallery
$1165.00
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The beautiful pieces offered here is a matching set of Greek silver earrings, that date circa 6th century B.C. These pieces are made of solid silver, are not plated or have a bronze core, and they have an attractive dark gray patina. These pieces are approximately 1 inch high and .64 inches wide near the base. The upper half narrows into a point, which allowed these earrings to pass through a pierced ear. There is some flex to these pieces even now, and they could easily be worn today. The shape of this type of earring is known as a "boat-shaped type", and they have two additional decorative rosette pattern knobs that are seen on each side. Each of these minute round knobs were individually added, and these earrings were made with a great deal of skill, although they have a simple design. Greek silver jewelry from this time frame, circa 550 B.C., is scarce, as most Greek silver jewelry dates to the later Hellenistic Period, circa 336 B.C. (A Greek silver fibula with analogous workmanship is seen in The Belgrade National Museum and is published in "Balkani" by Tatjana Cvjeticanin, Giovanni Gentili, and Vera Krstic, Silvana Editoriale Pub., 2008, no. 73.) The earrings offered here are intact and have no repair/restoration, and are in exceptional mint condition. An earring stand is included, along with a gift box. Ex: Private German collection. (These pieces have additional documentation for the purchaser.) I certify that these pieces are authentic as to date, culture, and condition:
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Greek Geometric Period Bronze Spiral Torque
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Antiques:
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Ancient World:
Greek:
Bronze:
Pre AD 1000 item# 943469
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Apolonia Ancient Art
303-321-7351 gallery
$875.00
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This solid piece is a nice Greek bronze torque that dates to the Geometric Period, circa 1000-800 B.C., and this type of piece has been found in central Europe and the Balkins. This piece is approximately 5.2 inches in diameter at its widest point, and has a nice dark green patina with some spotty dark green deposits. This piece was also able to flex, so that the wearer could easily slip the piece onto the neck, and this was also made easier due to the curved and rounded terminal ends that curve back away from the center. This piece has four sides from the terminal ends, and then graduates into a round, twisted spiral through the main body of the piece. In addition, this piece has an uniform diameter and this piece took a great deal of metallurgical skill to produce, due to the reasons noted above, and is a scarce piece in this superb condition. This piece was probably made for a young man or a woman, given the diameter of the piece, and was probably worn in life as well as serving as a votive grave offering. This piece can be worn today and is one of the best examples, as it is in superb condition with no cracks and/or repair, and has an exceptional patina. Ex: Bonhams Antiquities, London, Dec. 1996, no. 45. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Greek Tetradrachm of Aesillas: Quaestor of Macedonia
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Greek:
Pre AD 1000 item# 943188
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Apolonia Ancient Art
303-321-7351 gallery
$1275.00
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This superb quality coin is a silver tetradrachm that dates circa 93-92 B.C., and is 16.7 gms. This coin is approximately 35mm in diameter and probably has a unique reverse die. The obverse has the bust of Alexander the Great with flowing hair, and is seen wearing the horns of Zeus Ammon. The lettering for MACEDONIA is seen below. The reverse shows the name AESILLAS, with the letter Q seen below and to the right of the club of Herakles, with a money-chest to the left, and a quaestor's chair to the right; all with an olive-wreath. The unique feature of this piece, seen on the reverse at the top of the olive-wreath border, is a symbol comprized of the letter A with a line above. This symbol may be the signature of the artist, who produced this set of dies that were used to strike this rare coin. The meaning of this symbol is unknown, but what is known is that Macedonia was conquered by the Romans in 168 B.C., and was subsequently divided into four provinces. This coin was minted in one of the four provinces, and the symbol seen within the wreath may also be a mint mark. A well centered, beautiful coin that may be unique. Comparable dies: SNG COP no. 1330, Sear no. 1463. Ex: Harlan J. Berk Ltd., Chicago, Ill. I certify that this piece is authentic as to date, culture, and condition:
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Northern Iranian Amlash Bronze Standing Bull Pendant
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Antiques:
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Ancient World:
Near Eastern:
Metalwork:
Pre AD 1000 item# 681410
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Apolonia Ancient Art
303-321-7351 gallery
$1375.00
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This esoteric piece is a bronze pendant in the form of a standing bull. This piece dates circa 1000-800 B.C. and is from the region of northern Iran. The culture that produced this piece is known as the "Amlash" culture, which was centered around Tepe Marlik, and they were expert in producing bronze works of art and ceramics. The Luristan and Urartian cultures were also very proficient at producing bronze works of art and weapons, circa 900-600 B.C., but the Amlash culture produced works of art that were very esoteric in form and design. The "free formed" piece seen here has elegant curved and rounded edges, and this can easily be seen where the legs join the main body of the piece. This design can also be seen relative to the large standing bull terracotta spouted vessels that were produced by this culture. (See Christie's Antiquities, New York, Dec. 1999, no. 523 for an analogous designed piece.) The horns of the piece offered here, and the above Christie's example, are also rounded into an arc pattern where they join the head of both pieces. This elegant little piece is approximately 2.5 inches long by 1.7 inches high. There is a hole that is seen on the back, at the base of the neck, and this was used to suspend this piece as a pendant. This pendant was probably used as a fertility symbol. This piece has a nice dark green/blue patina and it sits on a custom stand. This piece is complete and is intact, and is a superb example for the type. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Mint Roman Glass Flask with Dainty Handle
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Antiques:
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Ancient World:
Roman:
Glass:
Pre AD 1000 item# 921530
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Apolonia Ancient Art
303-321-7351 gallery
$565.00
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This Roman glass jug is approximately 3.5 inches high and is in mint condition, with no cracks and/or chips. This piece is a light blue/green color, and has sections of a multi-colored iridescence. This piece dates circa late 3rd-4th century A.D., and is classified as a "Late Blue-Green Mould-Blown Series" by John W. Hayes in "Roman and Pre-Roman Glass in the Royal Ontario Museum", Toronto, Canada, 1975, p. 87. This piece is analogous to a piece illustrated in this work and it is no. 432, which also shows vertical fluting on the lower body, inward base with pontil-mark, thin elongated neck, and a very thin applied handle. The handle seen on the piece offered here is very dainty and remarkably thin, but durable. A choice example of Roman blown glass. 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 Columbian:
Pottery:
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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Large Rare Jamacoaque Mask of Shaman Wearing Mask
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Pottery:
Pre AD 1000 item# 923380
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Apolonia Ancient Art
303-321-7351 gallery
Sold
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This rare and exceptional terracotta mask is from the Jamacoaque culture that dwelled in modern day Ecuador, circa 300 B.C.-400 A.D. This tan terracotta piece is in mint condition, is approximately 6 inches wide, 5.25 inches high, and has extremely high relief that is approximately 2.9 inches. This piece also has an original light green color that covers the majority of the piece, and this color highlights an outer mask that covers the face of an individual. There is an opening in the center of this mask, and one can see the nose and mouth of this individual that is a light tan color. The nose has an round ornament, which may denote this individual as a shaman. This piece is a large example from this culture and was likely a votive piece, and as such, this piece points to a probable connection that the departed may have had with Jamacoaque ritual and/or shamanistic activity. The spiritual ceremonial world of the Jamacoaque is often depicted in their art, and there are many known examples of terracotta Jamacoaque figurines that depict standing priests and/or shaman in ceremonial regalia wearing masks. Jamacoaque figural art is also much more common than the rare mask offered here. (For more examples of Jamacoaque art, see "Pre-Columbian Art of South America" by Alan Lapiner, Abrams Pub., New York, 1976, pp. 329-369.) These ceremonial masks were obviously integral to the Jamacoaque culture, and this may help to explain the rare votive mask offered here. This piece may also have been attached to a mummy bundle and/or served as a votive image of the departed, and this piece may have been designed to conceal the identity of the deceased. There are also two holes seen in the forehead, one hole below each eye, and two holes at the outer edge of the mouth that may have been used for attachment. This mask is rare, not only because it is a large size in mint condition, but because it is principally a piece which is a mask that represents an individual wearing a mask, and this representation is not often seen relative to Pre-Columbian art. There are minute spotty black deposits seen in various sections of the piece, and a thermoluminescence (TL) test from Kotalla Laboratory accompanies this piece. This piece is also mounted on a custom black plexiglas stand and can easily be removed. 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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