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X-Rare Moche Man with Facial Deformity: Ex Fischer
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Pre AD 1000 item# 1136603
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Apolonia Ancient Art
303-321-7351 gallery
$3,675.00
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This extremely rare piece is a Moche "open topped" jar that is Moche V Period, circa 500-700 A.D. This piece is approximately 13.7 inches high, by 8 inches in diameter around the mid-section of the vessel. This piece has highlighted dark red/brown body features that are seen over a light cream colored background, and this Moche convention of art gives this piece very noticable detail to the viewer. This Moche convention of art is generally seen within the Moche V Period, and is often associated with "open topped" jar vessels of this type and "open topped" jars with an extended neck. This piece is 100% original, was repaired from three large fragments, and is a large example for the type. There is also attractive dark burnishing and minute spotty black deposits seen on sections of this piece. This exceptional piece depicts a seated male individual, who is seen on his knees with his legs folded under his body, with one arm over his chest, and the other arm down at his side. He is seen looking straight ahead with what appears to be a forlorn expression on his face, and his face displays an extended lower jaw and deep gashes/cuts that are primarily seen on the right side of his face and jaw. His facial deformity and gashes/cuts may have been the result of battle damage sustained in one-on-one Moche combat, which was geared to "capture", rather than to "kill" one's opponent. (See "Moche Art of Peru" by Christopher B. Donnan, University of California Pub., 1978.) The Moche warrior is also often depicted on Moche ceramics in full battle regalia, and is seen wearing a conical helmet, nose guard, and neck pads/guards. The most vulnerable contact points was the front of the face, the jaw/lower face, and perhaps the lower extremities of the body. Given the goal of Moche combat to "capture" one's opponent for "live" sacrifice, the Moche warriors who survived such combat must have sustained injuries of the type seen on the vessel offered here. In addition, this piece was examined by a several surgeons, and one made the following comment: "Interesting piece. The figure has a Le Fort Fracture of the mid face. The jaw is in the right position, but the middle of the face is pushed in, and this explains the relative diminutive nose. This fracture is generally secondary to severe force, such as a fall from a height, but it was first described by a French surgeon treating war injuries. I could envision it being caused by a blow to the face with a war club." This piece was collected circa 1960's by Dr. Ernst J. Fischer, who collected Moche art/ceramics that were medical related, and often depicted individuals with diseases and/or deformities. The Moche are known for their realistic ceramic portraiture of individuals, and the vessel offered here is a prime example of their skill for realism in portraiture. However, there is the possibility that the individual depicted here is seen with a medical related disease and/or deformity, and this is the conventional view offered by many experts in Andean pre-Columbian art. The most common view is that the deformed face, of the seated individual offered here, was caused from a disease such as Mucocutaneous Leishmaniasis (ML), and this disease is found today in Bolivia, Brazil, and Peru. ML is contracted from a sand fly bite, and subsequently, ML symtoms include painful nodules inside the nose, perforation of the nasal septum, and enlargement of the nose and lips. Untreated, the disease leads to ulcerated lesions and scarring and tissue destruction predominately in the face and extremities which can be disfiguring (See MedicineNet.com for more information regarding this disease). This piece may display the disease noted above, or it may possibly be the result of a battle injury, but there is also a third possibility, and that the individual seen here may have been subjected to a ritual mutilation ceremony and/or was simply the victim of mutilation as a form of punishment, but whatever the case, this interesting piece is an extremely rare Moche vessel that is seldom seen on the market. Ex: Dr. Ernst J. Fischer collection, Germany. Exhibited: "America vor Kolumbus", Museum fur Volkskunde und Kulturgeschichte Kevelaer, 1992. / "Gesichter Alt-Amerika", Ausstellung im Foyer der Sparkasse, Krefeld, Germany, 1994. / "Weltsprache der Form", Ausstellung im Wilhelm Lehmbruck Museum, Duisburg, Germany, 1998-1999. / "Prakolumbische Kunst aus Peru", Ausstellung auf der Cologne Fine Art, Germany, 2006. / "Kallawaya-heilkunst in den Anden", Grassi-Museum fur Volkerkunde, Leipzig, Germany, 2011. (Note: Additional documentation is included with this piece, including a TL test, circa 1991.) 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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Detailed Moche Fine-Line Ceramic with Paddler Deity
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Pre AD 1000 item# 1043832
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Apolonia Ancient Art
303-321-7351 gallery
$7685.00
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This exceptional ceramic is a Moche "fine-line" stirrup type vessel that is classified as being Period V, circa 500-700 A.D. Moche ceramics from this period are extremely detailed, as they represent the final phase and high point of Moche artistic style and iconography. This detailed red line design over a cream colored background piece is approximately 8.7 inches high by 5.2 inches in diameter. This piece is also intact, and is in mint to superb condition, save for an old minor chip repair on the base ring and a minor scratch mark seen on Side B. This piece has minute spotty black dendrite deposits and root marking that can be seen over the entire piece, and some sectional minute spotty glaze loss, which is normally the case for authentic pieces of this type. In addition, there is some slight light brown burnishing seen on Side B which makes the fine-line design dark brown, rather than light red as seen on Side A, and this effect is subtle, and is an important feature that also points to the authenticity of the vessel. The light brown burnishing may have also been an intentional effect, rather than a result of some minor temperature misfiring within the kiln. This piece was also made as a "votive" type piece, and there are two scenes seen on the vessel, one on Side A, and the other on Side B. Side A has a deity facing right, who is seen wearing a regal headdress, ear spools, ceremonial back flap, and is holding a stick with decorative elements seen at both ends. This stick has been referred to as a "paddle" by many academics, as the deity is also seen in the center of a Moche reed boat that has serpent heads at each end. In fact, the stick may simply be a "power" type symbol, and there is much debate as to exactly what this symbol is meant to convey and/or represent. This "paddle" also does not have any decorative elements seen within its rectangular shape, and this blank design stands out in contrast against the balance of the highly decorative and detailed scene. This artistic effect can only be the end product of a highly skilled artist and/or workshop. This piece also has an analogous scene design seen on Side B, but the seated deity seen on Side B is not holding a "paddle", and probably represents a different deity that is portrayed on Side A. The deity depicted on Side A also appears to be floating in space with both legs seen hanging down, as opposed to the deity depicted on Side B, who is seen seated firmly on the flat platform of the reed boat. This artistic design and symbolism is discussed by C. Donnan and D. McClelland in "Moche Fineline Painting: Its Evolution and Its Artists", UCLA Fowler Museum of Cultural History, University of California Los Angeles Press, 1999. The piece offered here is also analogous to the "Large Lip Painter", as discussed in the above reference, and the vessel offered here may be by this artist and/or is from his workshop. The examples seen in Figures 6.155-56, from the reference as noted above, have analogous design features as the piece offered here, including almond eyes, serpent head reed boats with a single dot eye, double floor tier boat platforms, and a wavy and curled tongue that is seen extended from each deity. There are also analogous designed weapon bundles seen on the stirrup spouts as well. The exceptional piece offered here is scarce in this condition, has a high degree of art that covers most of the surface of the vessel, and is an exceptional example for the type. This piece is also much better than most fine-line examples seen on the market. Ex: Andrea Sarmiento collection, Miami, FL., circa 1960's. Ex: Erika Roman collection, Santa Cruz, CA., circa 1980's. Ex: Private FL. collection. I certify that this piece is authentic as to date, culture, and condition:
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Mixtec Greenstone Penate Figurine
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Pre 1492 item# 924059
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Apolonia Ancient Art
303-321-7351 gallery
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This nice piece is a carved greenstone "penate", i.e. "pendant", figurine that is approximately 3.25 inches high. This piece is a larger example, with a higher quality green colored stone, than what is usually seen. This attractive piece is Mixtec, dates circa 1100-1500 A.D., and was worn as a protective amulet. This piece has a bow-drilled hole at the top back side, which allowed this piece to be worn and suspended in an upward position. The body of this piece has a flat backside and is carved with a bi-facial front side. The eyes are bow-drilled and there are string cuts that define the head, torso, and legs. This greenstone piece has a nice patina that has dark black spots and light brown deposits. This piece has also been authenticated by Mr. Robert Sonin in New York. This piece hangs on a custom stand, can quickly be removed, and can easily be worn today on a leather cord. Ex: Arte Primitivo, New York. Ex: Renee Neu collection, New York. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
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Rare Mayan Poison Bottle with God K and God L
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Pre AD 1000 item# 1107318
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Apolonia Ancient Art
303-321-7351 gallery
$3,275.00
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This rare Mayan ceramic is a small bottle known as a "poison bottle". This piece dates circa 600-900 A.D., and is approximately 3.9 inches high by 1.75 inches wide. This exceptional piece is larger than most examples, and is intact, with no repair and/or restoration. This piece was used by the Maya as a container that was used to contain precious contents such as red cinnabar, which was the most common product that this type of vessel contained. Red cinnabar was widely traded in the ancient Mayan world, and was used in religious Mayan ceremonies, tombs, ceramics, and jewelry. Red cinnabar is a known preservative of organic matter, which made red cinnabar sacred to the Maya due to it's preservation properties, and this was important relative to the Mayan concept of eternal life. Red cinnaber is extremely toxic in concentrated quantities, as it is mercury based (HgS), and this is why this type of vessel is known as a "poison bottle". This piece also has no noticable traces of red cinnabar on the inside surfaces. This superb vessel has a mold pressed scene of the Mayan gods K and L facing one another, and each rounded side of this vessel has a mold pressed double-banded Mayan glyph band. The double-banded Mayan glyph bands, seen on each rounded side of this vessel, are identical, as they were mold pressed from the same molds. The mold pressed scene of both Mayan gods, seen on both flat Sides A and B, is identical as well. Side A is slightly more clearer than Side B, as the same mold was used to press each side; and this mold filled with some loose material from pressing Side A, which subsequently produced an image on Side B that was not as sharp. This is the case with most of these Mayan molded bottles, and this slight loss of detail is also an excellent mark of authenticity. God K, seen standing to the left facing God L, has a snake foot seen behind, and a smoking scroll that is seen emerging from his forehead. God K is a major Mayan deity, who personified royal power and was a protector of royal lineages. God L, seen standing on the right facing God K, has a wide-brimmed hat with a Moan bird, and a jaguar-hide cloak with indented spots. God L is also one of the principle Mayan gods that presided over the underworld. This scene with both "standing gods" is rare, compared to the numerous examples of "poison bottles" of this type that show both gods seated. (See attached photo showing an example of the "seated gods" type. The "seated gods" example seen here is a drawing of a "poison bottle" that is seen in "The Smoking Gods", by Francis Robicsek, University of Oklahoma Press, 1972, p.187, Figure 210.) The intact piece offered here, has several minute dark black deposits, and there is some attractive dark brown kiln burnishing seen on the upper opening, Side B, and on the bottom surfaces. This burnishing was primarily a result from not enough heat/oxygen in the kiln when the piece was fired, and kiln burnishing is very common relative to Mayan light brown/tan ceramics of this type. This piece is a rare type, as it is a very large example, and is a "standing gods" type that is seldom seen on the market. In addition, this piece has a double-banded glyph band on each side, and usually, one sees the single glyph band on each side, or no glyph band at all. Ex: Lands Beyond Gallery, New York. (Circa 1980's, inventory no. DW475.) Ex: Private Arizona collection. I certify that this piece is authentic as to date, culture, and condition:
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Olmecoid Standing Polychrome Mother Goddess
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Pre AD 1000 item# 1022403
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Apolonia Ancient Art
303-321-7351 gallery
$1,365.00
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This interesting piece is an Olmecoid standing figurine that dates circa 600-300 B.C. This piece is approximately 6 inches high, is a light tan clay, and has a thin light tan to clear polychrome glaze. This piece is intact, and has a solid body and a mold made hollow head, which was attached in antiquity. This figure is seen with both arms at the side, and the hands are positioned at the front holding a paunchy stomach, which indicates that this piece is a fertility and/or mother goddess. In addition, the lower torso is "pear" shaped and has wide hips. This piece also has many classic Olmec artistic style features such as the jaguar-like ears, eyes, and mouth. These features are a combination of human and animal, which are classified as "transformation art", which is a principle stylistic hallmark of Olmec art from central Mexico. This type of Middle Preclassic period fertility figurine has been found in Izapa (Mexico), Kaminaljuyu (Guatemala), and Chalchuapa (El Salvador); and has also been classified as the "Mamom" artistic style, which was produced by a "pre-Mayan" and/or Mayan culture. (For the "Mamom" artistic style, see "Maya, Treasures of an Ancient Civilization", Harry Abrams, Inc. Pub., New York, 1985, pp. 74-75.) This piece is scarce in this intact condition, as most pieces of this type are found broken, and is a much better example than what is normally seen on the market. This piece can also stand by itself. This piece comes with a custom stand, and can easily be removed. Ex: Julio Atalah collection, circa 1940-1967. Ex: Danny Hall collection, Houston, TX., circa 1967-2005. Ex: Saida Cebero collection, Sugarland, TX., circa 2005-2009. Ex: Private Florida collection. I certify that this pice 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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Large Mayan Cylinder Vessel with Basket Pattern
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Pre AD 1000 item# 1044364
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Apolonia Ancient Art
303-321-7351 gallery
$2,365.00
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This visually appealing piece is a large Mayan cylinder vessel that dates circa 400-600 A.D. This piece is approximately 8.5 inches high by 6.9 inches in diameter, is intact with no repair and/or restoration, and sits on four legs that are attached to the bottom base. This piece is a bright orange and black-line polychrome ceramic, which has a square geometric pattern that runs around the entire outer surface. This pattern may be an imitation of a basket weave pattern, or possibly a textile pattern. According to Herbert J. Spinden in "A Study of Mayan Art, Its Subject Matter & Historical Development", Dover Pub., New York, 1975, page 147: "Simple basket weavings appear as painted ornamentation on potsherds from the Uloa Valley (Fig. 204). Complicated braided patterns are common as the rim decoration on pottery from this region, and may have had their origin in the imitation of wicker-work basketry. It is probable that basketry was not of much importance as an art among the Maya, owing to the high development of ceramics." This piece has some heavy spotty black manganese deposits and root marking, which is mainly seen on the bottom and at the bottom edge of the vessel. This piece has some minor minute glaze loss, but overall, it is in extremely fine condition. This piece is also from the Salvador/Honduran region, as the orange and black colors are common for the region, but the type of geometric pattern that is seen running around the entire vessel is not common, and is a scarce design. This large piece is interesting, has a high degree of eye appeal, and is scarce in this condition. Ex: C.W. Slagle collection, Scottsdale, AZ., circa 1980's. Ex: Private FL. 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
$4,675.00
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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. The owl seen on this vessel also has a human designed eye, and may represent a shaman and/or priest in costume, or is in a state of transformation. (This ecstatic trance state was first 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. See attached photo.) Ex: S. Benger collection, Germany, circa 1970's. Ex: G. Hirsch Nachfolger, Pre-Columbian Art Auction 257, Sept. 2008, no. 179. Ex: Private New York 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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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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