Apolonia Ancient Art offers ancient Greek, Roman, Egyptian, and Pre-Columbian works of art Apolonia Ancient Art
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1177714
Apolonia Ancient Art
$3,675.00
This extremely rare piece is a Moche blackware ceramic that dates circa 100 B.C.-200 A.D., Moche 1-II periods. This piece is approximately 6.75 inches high by 5.6 inches wide. This Moche ceramic is an early blackware example, and has a solid black/brown glaze over a light brown terracotta. This piece is in the form of a manta ray, and is seen in an upright position with its wings and tail section acting as support legs. This upright design allows the viewer to see a raised head that has anthropomorphic features, such as an open round eye at each side of the head, an open mouth seen where the gills of the manta ray would have been seen, and nostrils above the mouth. The gills of the manta ray are also seen below the mouth area and between the extended wings that form a base for the piece. In addition, the gills of the manta ray seem to emphasize the anthropomorphic head just seen above, and this anthropomorphic head is likely depicted morphing into a full human head, or vice-versa, from a human into a manta ray. The anthrpomorphic head seen on this piece is also enlarged, and according to Christopher Donnan in "Moche art of Peru", University of California, Los Angeles, CA., 1978, p.30: "Depiction of humans or anthropomorphized creatures involves a standard enlargement of the hands and heads. Sexual organs may also be enlarged for emphasis, although normally they are small relative to the size of the body, or are simply not indicated." The x-rare piece offered here has attractive and extensive root marking, has some minute spotty black mineral deposits, and is intact with no repair/restoration. Another extremely rare Moche manta ray ceramic type of nearly the same size of the piece offered here is seen in the Larco Museum Collection, Lima, Peru. (See attached photo. The Larco example is not a blackware piece, and has extended wings with a human face seen underneath.) The piece offered here is seldom seen in many old collections, and this is an excellent indicator that this piece is an extremely rare type. Ex: Galerie Arte Andino, Munich, Germany, circa 1980-1986. Ex: Dr. Klaus Maria collection, circa 1986-2012. (Note: Additional documentation is available to the purchaser, including a TL test from Gutachten Lab., no. 638646, dated Dec. 5th, 1986, and EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1367369
Apolonia Ancient Art
$2,365.00
This vibrant Nazca globular vessel dates to the Middle Nazca Period, circa 300-600 A.D., and is approximately 10 inches high, by 9 inches in diameter through the center of the piece. This piece has very vibrant dark red, orange, cream, black, white, and light aquamarine colors. This piece was painted over a light brown/tan clay, and has perfect globular symmetry in it's creation. This attractive piece has a flat "basket handle" that covers the top opening, and this opening also has an esoteric flared lip. This piece is also larger than other examples of this type, and is a type not often seen relative to Nazca ceramics. This piece features a powerful image of a "spirit god", which has also been termed a "demon-feline god", and this god has a mirror image of itself seen on each half of the vessel. (For an explanation of this composite god see "Culturas Precolumbinas Nazca", by J. Antonio de Lavalle", Lima, 1986.) This "spirit god" has a facing head with open and noticeable white eyes, a linear open mouth with a tongue protruding, a multi-colored and segmented necklace, and trailing legs with a textile cape that has two attached trophy heads and a facing head at the end. This figure also appears to be in flight, and is an excellent representation of a god in the spirit world. A major theme of Nazca ceramic art features complex figures with feline faces and human trophy-heads probably alluding to war, the taking of heads, and the use of blood offerings to earth, sky, and water. Similarly dressed figures may also have appeared in ceremonial rites. This piece was repaired from several fragments, as is usually the case relative to large-scale Nazca ceramics, and is approximately 98% original. A nice large piece with very powerful and vibrant iconography. This powerful piece also comes with a clear Plexiglas ring base. Ex: Private German collection, circa 1960's. Ex: Dr. Gunther Marschall collection, Hamburg, Germany, circa 1970's. (Note: Additional documentation is available to the purchaser, including a TL authenticity test from Kotalla Lab, Germany, no. 28R270317, and EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre 1492 item #1185287
Apolonia Ancient Art
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This attractive piece is an Inka-Chimu canteen vessel that dates circa 1450-1533 A.D. This piece is approxiamtely 8.5 inches high by 3.5 inches wide, and is in mint to superb condition with no repair/restoration. This piece has an attractive glossy black glaze with some dark brown burnishing. This piece has an indented depression on each side, and seen centered within, is a star and a spiral symbol on each side of the vessel. The star is a well known Inka symbol, and is often seen as a design shape on Inka bronze mace heads and black basalt bowls. The spiral design is also seen as a sacred Nazca line symbol, and these line symbols created in the desert were constructed by the Nazca to have been viewed by the Gods from the air. The sacred Nazca spiral design may have served as a "water/rain symbol", and the canteen vessel offered here may have held water in a votive capacity as well. (An analogous sacred Nazca spiral symbol is seen published in "The Mystery On the Desert" by Maria Reiche, pub. 1949, reprint 1968.) The piece offered here was also likely made by Chimu potters who simply continued working for their Inka masters who conquered their city state of Chanchan circa 1470 A.D. The piece offered here derives from earlier Chimu pottery types/techniques, notably the lustrous blackware made by the north-coast potters of Chanchan and Lambayaque. One feature of these Chimu potters, seen on the vessel offered here, is the single elongated neck of the vessel. This piece is an interesting example of Andean pre-Columbian art, as it has symbols that are common to several cultures, and has a very esoteric shape which is another hallmark of Inka ceramics. Ex: Private German collection, circa 1970's. Ex: Dr. Klaus Maria collection, circa 1980-2012. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1184568
Apolonia Ancient Art
$2,875.00
This superb vessel is a Moche fineline ceramic that dates circa 450-600 A.D., Moche IV-V periods. This vibrant piece is approximately 12.2 inches high by 6.5 inches in diameter, and is in intact condition with bright dark red and cream colors. This complete piece has no repair/restoration, some attractive light brown burnishing with some minute spotty light brown mineral deposits. There is a small probe hole seen near the base on one side which is also commonly seen on many authentic Moche ceramics. This piece also has a flat bottom and two lively running serpent warriors facing left, which are carrying shields/maces in an extended arm, and are seen with a bended extended leg. The fineline painting, along with the "wave motifs" seen on the raised stirrup, are painted in a vibrant dark red slip. This piece is one of only a few recorded examples that was likely painted by the same hand of a singular master painter, and is very analogous to the example seen in the Sackler collection. (See "Art of the Andes: Pre-Columbian Sculptured and Painted Ceramics from the Arthur M. Sackler Collections", Arthur M. Sackler Foundation Pub., Washington, D.C., p. 181, no. 58. See attached photo.) These serpent warrior examples are also thought to have been found in one geographic location, i.e Chimbote in the Santa Valley, and this theory also supports the premise that this piece was painted by an individual master painter. (This theory is also mentioned by Paul Clifford in the Sackler reference noted above.) The Sackler example and the superb example offered here, both show a coiled serpent body which conveys movement, a lively open mouth, dotted eye, and dark red trefoil body spots. This serpent warrior anthropomorphic composition conveys not only movement, but also a lively expression, which in combination makes this piece a master Moche composition. The anthropomorphic running serpent warriors composition also is a representation seen within the Moche spirit world, and may represnt the resurrection of a Moche warrior. This piece is a rare to scarce type, and is seldom seen on the market. Ex: Private German collection, circa 1970's. Ex: Dr. Klaus Maria collection, circa 1980-2012. (Note: Additional documentation is available to the purchaser, including a TL test document from Gutachten Lab, no. 3821027., dated Nov. 27th, 1982, and EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1260877
Apolonia Ancient Art
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This scarce piece is a Mayan ceramic that dates circa 600-900 A.D. This piece is approximately 7 inches long, by 4.5 inches high, and is in superb intact condition with only a few minute abrasions. This piece also has an attractive orange and light brown polychrome glaze, with some heavy and spotty black mineral deposits. This interesting vessel is in the form of a sitting rabbit, and has all four legs tucked under the body. There is also a single rattle that is built into the animated hollow head, and rattles of this type are normally seen in the rounded hollow legs of select Mayan tripod vessels. This appealing vessel is designed to sit horizontally as a rabbit would be at rest, and also upright, as if the rabbit is raised up on it's hind legs. In addition, there are three suspension holes, one under each front leg, and one that runs through the head. This allowed one to control a liquid that could then be poured from the raised hole that is seen on the upper back of the rabbit. This piece also has a black Mayan mat symbol which is painted on the belly of the rabbit. The rabbit, for the Maya, was a deity associated with scribal or artistic roles, and was the patron god of the Mayan scribe. According to Michael Coe in "The Art of the Maya Scribe", Abrams Pub., New York, 1998, p. 110: "The much illustrated little Rabbit God writing a codex on the Princeton Vase makes only one showing as a scribe in the art of the classic Maya. He must be the same rabbit that the Maya saw on the face of the moon, and is iconographically linked with the Moon Goddess, who often is depicted holding him in her arms." The piece offered here may represent a scribe as a rabbit, but more likely it represents the "Rabbit God" himself, who also doubles as the patron god of the Mayan scribes. This vessel may also have been a "paint pot" for a Mayan scribe and/or it may also have been a votive vessel for an important individual such as a Mayan scribe. The artistic style of the painted black Mayan mat seen on this piece, is also analogous to the painted mats seen on "Copador" type vessels. The name "Copador" is a contraction of Copan and El Salvador, and refers to the zone of distribution for this type of vessel. This piece may also refer to the 13th ruler of Copan, "18 Rabbit", who acceded to the throne circa 695 A.D., and ruled for 43 years. Under his rule in Copan, Copan's population was growing as never before, and the "Copador" polychrome ware was being manufactured and distributed over a wide area in the Mayan world. This energetic ruler erected many monuments, including one of the largest ballcourts (Ballcourt A-III), which was second only to the Great Court at Chichen Itza. Linda Schele also felt that this ruler was also the greatest single patron of the arts in Copan's history, based on the number of works and the high-relief style of carving. (See "Scribes, Warriors, and Kings", by William Fash, Thames and Hudson Pub., 1991, p. 125.) Hence, it's quite possible that the vessel offered here also referred to this ruler of Copan, in addition to representing the "Rabbit God" of the Mayan scribes. This piece is a rare intact Mayan vessel designed in animal form, and full bodied Mayan "animal form" type ceramics are seldom seen on the market. Ex: William Freeman estate, New Mexico, circa 1960's-1980's. Ex: Private AZ. collection, circa 1990's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1377885
Apolonia Ancient Art
$925.00
This superb vessel is a Chimu/Lambayeque blackware stirrup-vessel that dates circa 1100-1400 A.D. This intact vessel is approximately 8.5 inches high, and has a solid black lustrous glaze with some attractive dark brown burnishing. There is some minute spotty black mineral deposits, and this intact piece is in superb condition with no repair/restoration. This piece shows a bust of a god with projecting serpent heads on each side of the central spout, four panels on the upper shoulder with facing nobles with collars and crested "tumi-type" headdresses, and a single handle with two attached prone adoration figures that are facing one another. The god bust has fine incised facial details, and may represent the legendary Lambayeque king "Naymlap". The two facing prone figures seen on the handle may be depicted as "riding" or "flying" on the handle, which also refers to the myth of "Naymlap", who was thought to have flown into the sky. This vessel may also be a "ceremonial type" vessel that was used for libations, and the vessel offered here has exceptional surfaces, and is more detailed than other vessels of this type. Another analogous example is seen in Sotheby's Pre-Columbian Art, May 27, 1998, no. 244. ($500.00-$700.00 estimates, $460.00 realized. See attached description/photo.) Ex: Private German collection, circa 1980's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1358352
Apolonia Ancient Art
$8,675.00
This exceptional Mayan plate has a great deal of eye appeal, and dates circa 600-700 A.D. This large example is approximately 12.75 inches in diameter, by 3.25 inches high, and is intact with no repair/restoration. This attractive piece has a polychrome glaze on the upper inner surfaces that is seen with very vibrant orange, black, white, and light red colors. This piece also has some attractive minute root marking and some spotty black mineral deposits. The bottom side of the plate is a light tan terracotta with three rounded legs with rattles within, and the "shoulder line" seen on the underside is very sharp and well defined. The top inner surface displays a stylized bust facing left of "God K", otherwise known as "K'awil", who is seen with an elongated nose, ear-flares, an elaborate smoking-mirror headdress, and a line-designed mouth. "God K" was one of the Mayan gods of greatest importance, and was associated with the natural elements linked to agricultural activities such as rain and thunder. The stylized bust is surrounded by four smoking scrolls that also refer to the four "cardinal directional points" that were sacred to the Maya. The entire bust design is also rendered with a stylized "circle-and-dot pattern" which also has filled colors within the circles, and this design type is of an artistic style that is associated with the Peten region. (For the design type, see a bowl published in: "Maya, Treasures of an Ancient Civilization", Abrams Pub., 1985, no. 122. See attached photo.) This piece also has a large black glyph band that frames the inner bust of "God K", and this contains glyphs that are associated with the "PSS" (Primary Standard Sequence) that was identified by Michael Coe. This glyph band was also painted by a very accomplished painter. Overall, this piece is an exceptional example of Mayan art that is also in superb to mint condition. Ex: Ferdinand Anton collection, Germany, circa 1959. Ex: Private German collection. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1237476
Apolonia Ancient Art
$1,625.00
This animated piece is a squatting figurine that is from the Nazca-Wari culture, circa Middle Horizon, 600-700 A.D. This interesting piece is approximately 5 inches high, and has a flat bottom base. This figurine likely represents a squatting male who is seen holding a ball upwards with his right hand, and his left hand is also raised to his left ear lobe which appears to be bleeding. This blood is also seen running down his left arm, and his facial expression is very animated with his crooked mouth. This crooked mouth may also be a representation from his injury to the left side of his head, which also may represent a stroke and/or a cranial injury. The figurine is also seen wearing a cloak with geometric patterns, and it may be that the person depicted here may also have been a ballplayer. The raising of the ball in his right hand may also be a sign of victory in the ancient Mesoamerican ballgame, and this may depict the point of victory in the game. This piece is also a ceremonial whistle vessel, and makes a high pitched noise when one blows into the bottom opening seen at the back side of this piece. There is also an opening for the whistle seen at the back side, and also two openings for the missing stirrup spout. This piece may also have been ceremoniously broken when it was buried, with the stirrup spout discarded, and perhaps this was linked to the fact that this piece may have portrayed an actual person. This piece was also collected by Dr. Ernst J. Fischer who collected Pre-Columbian ceramics that displayed medical related diseases and/or conditions. The condition of this piece is also superb to mint quality, and is intact save for the missing stirrup handle. The white, gray, light red, and black colors are very vibrant, and have a high degree of eye appeal. This piece was also one of the favorite pieces of Dr. Fischer, and is one of the rare examples of Andean Pre-Columbian art that likely displays a medical condition such as an injury and/or stroke of an individual. In addition, the injury depicted here may have been self inflicted and/or initiated to relieve the condition of stroke, but it is more likely that this injury was the result of playing in the ballgame. It is also interesting to note that the face of this individual is divided into two parts, with one half of the face depicted in light red, and the other half, in light gray. This piece is also a rare medical related type of ceramic, and is seldom seen on the market. An analogous piece from this culture was offered at Sotheby's African, Oceanic & Pre-Columbian Art, New York, May 2014, no. 203. (See attached photo. This complete open-topped vessel is approximately 5.5 inches high, and has analogous colors/design relative to the tunic and bilaterally colored face. $10,000.00-$15,000.00 estimates, $68,750.00 realized.) Ex: Auktion Ketterer 163, 1989, no. 337. Ex: Dr. Ernst J. Fischer collection, circa 1980's. Ex: Private German collection. (Note: Additional documentation is included for the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1236064
Apolonia Ancient Art
$1,265.00
This lively piece is a black ware Chimu ceramic that dates circa 900-1470 A.D. This piece is approximately 8.8 inches high, and is intact with no repair/restoration, and is in mint quality condition. This piece has an even deep black glaze, and has some white calcite deposits which are heavier in the low relief sections of the conical base. The conical base has three registers, which have impressed triangle and square designs, and the square boxes have "step-pyramid" designs seen within which are also artistic hallmarks of the Chimu culture. The head of this duck also has a very lively designed eye, and there are two molded legs seen below as well. This piece has a raised stirrup handle that is centered on the top section of the duck's body. This piece is an exceptional example of Chimu blackware, and is an excellent animal type Chimu ceramic. Ex: Dr. Ernst J. Fischer collection, Germany, circa 1970's. (Note additional documentation is available to the buyer, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1392177
Apolonia Ancient Art
$465.00
This appealing piece is a Moche bronze tumi that dates circa 300-600 A.D., and is approximately 4 inches high, by 3.6 inches wide, by .15 inches thick. This piece is intact and is in mint quality "as found" condition, and has a beautiful dark green patina. This piece also has some light brown earthen deposits, along with some spotty minute dark green mineral deposits that are adhered to sections of the piece. This piece was cast and then hammered into shape, and has a raised edge border that runs down from the curved blade to the base of the piece. This was added to give this piece some added strength, and shows that this piece was made with a great deal of skill. This tumi was also votive, and was likely added into the wrappings of a mummy, or was simply added into a Moche tomb. This piece is a symbolic offering, and represents the continued survival of the Moche culture, as this type of implement was used for ceremonial sacrifice. A nice complete example with a high degree of eye appeal. This piece also sits on a custom display stand, and can easily be removed. Ex: Dr. Gunther Marschall collection, Hamberg, Germany, circa 1960's. Ex: Private German collection, circa 1970's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1372853
Apolonia Ancient Art
$2,875.00
This powerful piece is a seated Vicus/Early Mochica shaman lord that dates circa 400-200 B.C., Early Intermediate Period. This piece is approximately 9 inches high, by 6.3 inches wide from elbow to elbow. This powerful looking piece is a seated shaman/lord that is seen with crossed legs and his hands resting on each knee. His elbows are also extended outwards, which adds to the regal visual impact of this rare Andean ceramic. He is seen wearing a skull cap that extends down to the middle of his back and "barrel-designed" torso. He is also seen wearing thick bracelets, and appears to have nude arms and upper chest. There are also sacred "wave-pattern" facial tattoos, and large ears that have a small vent hole centered within each ear. The most distinct feature of this regal seated shaman/lord, is his single "dotted-designed" protruding right eye, which is also visually enhanced with his missing left eye. This piece also has very realistic facial features, and it may be that the missing eye was lost in battle, or that the entire face seen is one that is undergoing a state of "transformation", from the living to the spirit world, or vice-versa. This exceptional piece has a thick red and cream colored glaze, with some spotty black mineral deposits. This piece is also intact, save for a small filled connection hole at the back of the vessel, as this piece was the forepart of a two-chambered vessel. The back chamber may also have been ceremoniously broken away, as this piece may also have been a sacred ceremonial offering. This piece also foreshadows the early Mochica I Period vessels that have an analogous glaze, and is a rare transitional type piece. This piece not only has a very powerful spiritual presence, but is also an extremely rare type not often seen on the market. Ex: Dr. Ernst Fischer collection, Germany, circa 1980's. Ex: Private German collection, circa 2000. Published: Suddeutschen Zeitung, Jan. 2010. (Note: Additional documentation is included to the purchaser, including a TL authenticity lab test from Kotalla Lab, Germany, June 1991, no. 1391607, and EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1215119
Apolonia Ancient Art
$1,275.00
This piece is a Mayan terracotta that dates from the Late Classic period, circa 600-900 A.D., and is approximately 6 inches high by 7.5 inches wide by 4.5 inches deep. This piece has powerful eye appeal, as it shows the Mexican rain god Tlaloc with large round eyes, scrolled upper lip, and exposed tooth row. This complete piece is a very large applique that was part of a extremely large vessel which may have had several of these applied appliques that ran around the outside of the vessel. There is original white pigment seen over the exposed teeth and round eyes, root marking seen in sections of the piece, and there are light brown and gray earthen deposits seen over the entire piece. The condition of this piece is intact, with little apparent crack fill, and this piece appears to have broken cleanly away from the main body of the vessel. A wall section of this large vessel also forms the backside of the piece offered here. The mix of Mexican and Mayan motifs in the Late Classic period is not uncommon, and another example of a Mayan terracotta with the Mexican rain god Tlaloc can be seen in "Pre-Columbian Art: The Morton D. May and The Saint Louis Art Museum Collections" by Lee Parsons, New York, 1980, no. 318, p. 205. The Mexican rain god Tlaloc has also appeared since the Early Classic period in the Maya zone, and is often related to scenes of "autosacrifice" involving the nobility, in which they self extract and offer their own blood. This "blood letting ceremony", as an offering to the gods, is also a metaphor for rain, although the Maya had their own rain deity, Chaac. The piece offered here may also have been part of a large ceremonial blood letting vessel. In relation to the letting of blood, the Tlaloc deity also appears on war shields, as seen on Mayan terracotta figures. This piece is scarce to rare, and sits on a custom black metal stand. Ex: E. Duncan collection, Stilwell, Kansas, circa 1980's. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1381605
Apolonia Ancient Art
$865.00
This piece is a Chancay canteen type vessel that dates circa 1100-1400 A.D. This piece is approximately 11.8 inches high, by 9 inches wide, by 4.5 inches thick through the main body of the vessel. This piece is a scarce "black-on-red" Chancay canteen vessel, as the majority of Chancay vessels are "black-on-cream" type vessels, and tend to be rather thin walled. The piece offered here is very durable, as it has thick walls, although it was a mold-made type vessel. This piece has attractive black geometric patterns seen on a red background on both sides of the vessel, and a raised rounded spout at the top, that also has the face and head of a god built into the spout. The face of the god appears to have tattoos, and has a very prominent nose. The handles of the vessel also double as arms, and there appears to be black painted hands seen at the top of each handle where it meets the spout. The god seen here may depict a Chancay "water-god", as this culture existed in a very arid region in ancient Peru. This intact piece is also in superb condition, with no repair and/or restoration, and has vibrant colors. This piece also sits on a custom Plexiglas display stand. Ex: Private Austrian collection, circa 1980's-2000's. (Note this piece has additional documentation for the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1234584
Apolonia Ancient Art
$1,265.00
This extremely rare piece is a Moche "open topped" jar that dates, Moche V Period, circa 500-700 A.D. This piece is approximately 5.6 inches high, by 5.25 inches wide at the base. This interesting piece is a polychrome black-ware vessel, and has a nice glossy black glazed surface with some attractive dark brown burnishing. This type of Moche "portrait vessel", is generally seen within the Moche V Period, and is often associated with "open topped" vessels with an extended neck, as is seen with this vessel. The extremely rare piece offered here is intact, has some spotty mineralization, and some attractive minute root marking. This piece shows a man with a facial deformity, as the face is seen caved in with a diminutive nose and an extended lower jaw. The man is also seen looking straight ahead with what appears to be a forlorn facial expression. This piece was collected circa 1960's by Dr. Ernst J. Fisher, who collected Moche art/ceramics that were medical related, and often depicted individuals with diseases and/or deformities. The Moche were known for their realistic ceramic portraiture of individuals, and the vessel seen here is a prime example of their skill for realism in portraiture, and it is likely that this piece depicted an actual individual. The most common view of the deformed face of the individual depicted here, is that this deformity was the result of 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 symptoms 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 likely displays the disease noted above, as the final stage of this disease is a collapse of the nasal septum followed by death. This piece may also have been a votive type piece, as this disease was regarded by the Moche as a sacred sign of the Gods, and consequently, this type of "portrait vessel" is extremely rare. Ex: Dr. Ernst J. Fischer collection, Germany, circa 1960's. Ex: Private German collection. (Note: Additional documentation is included for the purchaser, including EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1389023
Apolonia Ancient Art
$6,875.00
This powerful piece is a seated Colima warrior that dates to the Protoclassic Period, circa 100 B.C.-250 A.D., and is approximately 14 inches high. This reddish-brown seated warrior has long youthful limbs, and is seen with the raised right arm balanced on his knee. His cupped right hand perhaps once held an implement, or a lance made from perishable material. This warrior also appears to be in a trance, and has a rounded face with closed "coffee-bean" style eyes. He is also seen wearing a pendant tied around the neck, a headdress/helmet with a small "feline headed" medallion, and raised inlay stone tattoos on the shoulders. The left side of his nude torso is also decorated with a band of black geometric "line-design" tattoos. This piece has very realistic body molding seen on the back side of the vessel, and has a very angular nose. His ears are also pierced for earrings, and overall, this warrior exudes a regal like appearance. This piece was offered for the deceased, and was likely a "protector-type" figurine. The form of this Colima piece is also rare, and the figurine offered here is a rare example that is also known as the "Coahuayana Valley" type. This piece is also intact with no apparent repair and/or restoration, and has some spotty and minute black mineral deposits. A superb large example with a high degree of eye appeal. For the type see: R. Townsend, "Ancient West Mexico, Art and Archaeology of the Unknown Past", The Art Institute of Chicago, 1998. Ex: Sotheby's Parke Bernet, Pre-Columbian Art, New York, Dec. 1981, no. 165. ($2,200.00 realized.) Ex: Sotheby's Pre-Columbian Art, Nov. 2004, no. 268. ($4000.00-$6,000.00 estimates). Ex: Private Kansas collection, circa 2000's. I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1367808
Apolonia Ancient Art
$2,675.00
This scarce Moche piece is an owl priest seated on a raised platform, and dates circa 300-500 A.D., Moche III-IV Periods. This powerful piece is approximately 9.4 inches high, and has vibrant dark red and cream colors. This piece depicts a Moche priest in a full owl costume with a mask and wings, a raised crown, and ceremonial bracelets. He is also seen seated on a ceremonial throne that is perched atop a multi-layered platform. The owl priest also depicts 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", is also defined as "Figure B", who is also handing a goblet with sacrificial blood to a principle figure in the scene. 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. The eyes of the owl priest's mask are very animated, and the overall piece has very high eye appeal. This piece is intact, with no apparent repair/restoration, and has some minute black spotty mineralization. This piece also has a flat bottom and is very stable. Ex: Gunther Marschall collection, Hamburg, Germany, circa 1970's. Ex: Private German collection. (Note: Additional documentation is available to the purchaser, including a TL authentication document from Kotalla Lab, Germany, no. 36R270317, and EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1178207
Apolonia Ancient Art
$1,675.00
This piece is a Moche ceramic stirrup-jar that dates circa 450-600 A.D., Moche IV-V periods. This interesting piece is approximately 9.75 inches high, and is intact with no repair/restoration. This piece has some minute black spotty mineral deposits, and has some light brown burnishing. This piece has light orange/red highlights over a cream colored background, and is a very detailed Moche fineline ceramic. This lively piece shows two detailed and animated "Strombus Monsters", which are seen facing right and are seen on each side of the vessel. These composite creatures are seen wearing a conch shell, from which they are seen emerging, and they display a lively open mouthed pose. These creatures have a striped pelage, a tapering tail, a long-spined main that runs down the length of it's back, and four legs with claws. There are also three eyes that extend from the front of the head. According to Christopher Donnan in "Moche Art of Peru", University of California, Los Angeles, CA., 1978, p.63: "On the snout of the monster are antenna-like objects clearly derived from the land snail. There is a likely explanation for the combination of features on this animal. Since conch shells (Strombus galeatus) were imported from Ecuador, the Moche people probably never saw the creature living inside. They may, however, have made an analogy between the creature they thought inhabited the conch shell and the land snail, which is native to the north coast of Peru." There is an analogous comparable to this vessel that is seen in Sotheby's New York, Arts of Africa, Oceania & the Americas, May 2003, no. 207. ($4,000.00-$6,000.00 estimates.) Ex: Private German collection, circa 1970's. Ex: Dr. Klaus Maria collection, circa 1978-2012. (Note: Additional documentation is available to the purchaser, including a TL document from Gutachten Lab., no. 7579125, dated 11/19/1979, and EU Export and US Customs Import documentation.) I certify that this piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pottery : Pre AD 1000 item #1249675
Apolonia Ancient Art
$4,275.00
This extremely rare piece is a Moche seated man that is Moche IV Period, circa 450-550 A.D., and is approximately 8.3 inches high. This interesting piece is intact, save for a minute filled stress crack in the upper stirrup-handle, and is in superb condition with vibrant dark red, light brown, and cream colors. This piece is a seated Moche man who is dressed with regal ear flares, a wrapped headdress, a dark red back sack, and a cream colored tunic. The individual portrayed here does appear to have some social status in a regal or religious context, as he is seen finely dressed, and he is also seen holding a ceramic in each hand which may point to a ceremonial activity. This individual displays a pronounced facial deformity, which was also held in high regard by the Moche, as this was thought to be a sign from the gods. Special status and sacredness may have been accorded to those who suffered diseases and other physical handicaps. The pronounced deformed face of this individual has skin drawn tight over the bones, and is likely the result of a tropical disease. The Moche were known for their realistic ceramic portraiture, and the piece offered here is a prime example of their skill for realism in portraiture. Moche ceramics that are medical related, and depict individuals with diseases and/or deformities such as this piece, are rare to extremely rare. Another analogous example that portrays a deformed face is seen in "The Spirit of Ancient Peru: Treasures from the Museo Arqueologico Rafael Larco Herrara", Thames and Hudson Pub., by Kathlenn Berrin, San Francisco, 1997, no. 69. (See attached photo. This portrait-head type vessel seen in the Larco Herrara Museum may also be a portrait of the same individual as seen on the ceramic offered here. Both pieces have analogous features and are both Moche IV Period.) The individual seen here with the deformed face and diminutive nose was likely caused by a tropical disease known 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 nasel 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.) The piece seen here likely displays the disease noted above, rather than a battle injury, or a ritualistic mutilation, but whatever the case, this interesting piece is an extremely rare Moche vessel that is seldom seen on the market. Ex: Gayle Grayson Gallery, Chicago, Ill., circa 1980's. Ex: Estate of Daniel J. and Ruth Edelman, Chicago, Ill. (Note: Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition: