Apolonia Ancient Art offers ancient Greek, Roman, Egyptian, and Pre-Columbian works of art Apolonia Ancient Art
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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 : Traditional Collectibles : Books : References : Fine Art : Contemporary item #1010631
Apolonia Ancient Art
$325.00
This "Pre-Columbian Art of Mexico and Central America" book by Hasso von Winning is in mint condition, and is a "must have" reference book for collectors, museum curators, and art history students of Pre-Columbian art from Mexico and central America. This crisp, mint first edition is lavishly illustrated with superb examples from all the primary cultures of the entire Central American and Mexican region. This book is organized first by geographic area, and within that area, the primary cultural groups are classified in chronological order. There is a brief overview of the archaeology of each primary geographical area, and then a discussion of the highlights of the artifacts in that area all by chronological order. Each object is photographed in the book, many in beautiful color, and by professional art photographers. In addition, each object is accurately described with its date and dimension. Many of the objects were published for the first time in this book, and many of the objects are from private collections from around the world. It is important to note that this book was published prior to the US and UNESCO patrimony regulations. This book is also utilized by the major auction houses such as Sotheby's, Christies, and Bonhams as a primary reference for objects represented at auction. This book is also the companion book for "Pre-Columbian Art of South America" by Alan Lapiner. The book offered here was published in January 1968 by Harry N. Abrams, Inc., 388 pages with text, 595 illustrations, 175 photos in full color and many are mounted. Hardbound with dust jacket, including the clear protective cover for the dust jacket. ISBN: 0810904233.
All Items : Antiques : Regional Art : Americas : Pre Columbian : Stone : Pre AD 1000 item #1293208
Apolonia Ancient Art
$1,265.00
This primitive, but esoteric piece is a Chontal culture seated mother goddess that dates circa 300-100 B.C. This piece is approximately 4.9 inches high, by 3.4 inches wide, by 1.9 inches thick. This piece was carved from a single piece of hard green serpentine stone, and is an attractive dark green, with spotty light brown and black colors. This piece has a nice patina with some calcite deposits seen in some of the minute veins that run on the outer surface of this piece, and there is some minute root marking as well. In addition, this piece was polished in antiquity, and has a bright surface. This piece is also intact, with no repair/restoration, and has a small excavation mark on the back side. This piece is a "mother goddess" type, and is seen seated and holding her hands to her breasts. This attractive piece is also likely a fertility type piece, as this "mother goddess" emphasizes her breasts that are full of "mother's milk". This piece also emphasizes the Chontal culture artistic style which shows coffee bean eyes, double-line lips, square nose, and incised lines for the fingers and toes. This piece also shows the head slightly angled to the left, which offers this piece a more animated appearance. The Chontal culture is also contemporary with the Mezcala culture, and the design of the Chontal figurines have more rounded and defined features than the Mexcala culture, which tend to have very angular lines and features. The type of piece seen here is scarce to rare, and is not often seen on the market. This piece can also stand by itself, and simply sits on the included display base. (For the type see: Carlo Gay and Frances Pratt, "Mezcala", Geneva, 1992.) Ex: Private New York collection, circa 1980's. Ex: Howard Rose collection, New York, circa 1990'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 1492 item #1392177
Apolonia Ancient Art
$465.00
This appealing piece is an Inka bronze tumi that dates circa 1450-1550 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 tomb. This piece was likely a symbolic offering, and was also likely a "trade type" piece which served as a form of trade currency. This piece also represented the power of the Inka Empire, and this type of implement was also 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, Hamburg, Germany, circa 1960's. Ex: Private German collection, circa 1970's-2000'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 #1398950
Apolonia Ancient Art
$875.00
This esoteric green hard stone piece is a Valdivia-Chorrera hacha that dates circa 1500-600 B.C., and is approximately 5.85 inches long, by 4 inches wide, by 1.7 inches thick. This piece was produced by the Valdivia-Chorrera culture that lived in modern day Ecuador, and was one of the earliest pre-Columbian cultures of South America. This piece is a votive type object and is shaped as a battle ax, and is a type that is also referred to as a "hacha". This piece was smoothed and polished into the refined form that we see today, and this process was very labor intensive. The surfaces of this piece are very refined, and one can easily see the veins and multi-colored inclusions which enhances it's sacred "raison d'etre". This piece is also a hard serpentine type stone, and it's dark green color was highly prized among many pre-Columbian cultures. A near identical example was offered at Christie's, Paris, Art Pre-Columbian: Collection Felix Et Heidi Stoll ET A Divers Amateurs, April, 2019, no. 8. (1,000.00-1,500.00 Euro estimates. 1,000.00 Euro realized. See attached photo.) Ex: Dr. Gunther Marschall collection, Hamburg, Germany, circa 1960's. Ex: Private German collection, circa 1970's.-2000's. (Note: Additional documentation is available to the purchaser, including EU Export and US 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 #1367763
Apolonia Ancient Art
$2,675.00
This superb piece is a Veracruz/Mayan tripod plate vessel that dates to the Early Postclassic Period, circa 900-1200 A.D., and is approximately 12.4 inches in diameter, by 5 inches high. This piece is made from a dark red clay, and has a dark orange glaze that covers the entire piece. There are also three incised decorative boxes that are evenly spaced on the outer bowl, and these boxes have a dark gray/black glaze with cream colored incised lines. These boxes contain geometric patterns that may represent solar symbols, and these decorative elements are identical, save for the addition of a single circle added in Box B, seen with four circles, with yet another additional circle added in Box C, seen with five circles. Together, the three boxes likely represent a single complex concept, such as the movement of the planets, or perhaps representing a symbolic reference to the "Palenque Triad". There is also a symbol seen on the bottom central section of the bowl, and this may be a solar symbol and/or a sky symbol as well. This piece also has three rounded legs that are designed as a rattle, and all three legs are functional. There is also a slightly flared flat rim, with evenly spaced decorative black bands that are seen on the top flat rim surface. This piece is intact with no apparent repair/restoration, and is in superb condition with a very vibrant glaze. In addition, there are some spotty black mineral deposits. (Another analogous piece of this type and size was offered in Sotheby's Pre-Columbian Art, New York, May 1990, no. 236. $1,500.00-$2,000.00 estimates. See attached photo.) This piece is also relatively scarce on the market not only for the type, but also for the intact condition. Ex: Gunther Marschall collection, Hamburg, Germany, circa 1970's. 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 : Pre AD 1000 item #1351887
Apolonia Ancient Art
$1,675.00
This rare and esoteric piece is an Olmec seated duck poison bottle that dates circa 1100-800 B.C. This vessel is attributed to the Las Bocas region of Mexico, and is approximately 2.4 inches high. This piece has an attractive lustrous black glaze, along with some spotty light brown burnishing that is seen on all of the outer surfaces of the vessel. This piece is also intact, and has no repair/restoration. This piece is also in the form of a hollow container, as the top of the head has an opening into the hollow section of the lower body. This type of vessel is also known as a "poison bottle", as they generally held a substance such as red cinnabar or another hallucinogenic powder or liquid. This vessel was likely used in a ceremonial capacity, and this was likely the case for the majority of glazed Olmec vessels that depict birds such as ducks, raptors, and songbirds. (Another analogous "poison bottle" vessel of this type portraying a raptor is seen in "The Olmec World: Ritual and Rulership", Princeton University, 1996, Harry Abrams Pub., no. 61, p. 183. See attached photo.) The esoteric vessel offered here has a very animated face with dotted eyes, and two squat legs and an extended tail that serve as a tripod base for the vessel. There is also a "double dot-and-bar" symbol seen between the eyes, and the eyes also appear to represent dots as well. The "four-dots-and-bar" motif is also thought to represent the "axis mundi", as the conduit between the Olmec natural and supernatural realms, and the two dotted eyes together with the "double dot-and-bar" symbol, may be a representation of the "four-dots-and-bar" motif. The symbolism seen on this piece also reinforces the theory that this piece was created as a ceremonial type vessel. This piece is an exceptional example of Olmec ceramic art, and is seldom seen on the market. Ex: Ferdinand Anton collection, Germany, circa 1959. 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 : Pottery : Pre AD 1000 item #1239393
Apolonia Ancient Art
$2,365.00
This attractive piece is a Vicus culture seated figurine that dates circa 200 B.C.-300 A.D. This piece is approximately 6.9 inches high, and is in mint to superb condition with no repair/restoration. This piece has a pleasing nice deep reddish-brown glaze, and has some minute root marking and some light blue/black spotty mineral deposits. This piece is a stirrup-type vessel, and it has a flat bottom. The legs and arms are seen tucked in close to the seated body, and this figurine seems to exhibit an inner core that is changing from an animal form to a human form, or vice-versa. This piece is classified as a "transformation type" ceramic, and this can especially be seen with the human facial features relative to the almond shaped eyes and well defined nose. The wide mouth appears to exhibit this change as well, as does the dual lobed head which is an anthropomorphic animal feature which is attributed to an animal such as a monkey. This piece is also an excellent example of a ceramic from the Vicus culture of ancient Peru, due to the reasons noted above, and most pieces from this culture seem to exhibit some form of "transformation" from one degree to another. This piece is also "thick walled", and has some weight to the piece. The early Peruvian ceramics from this culture were also fired at about 400 degrees C, thus producing a "thick walled" ceramic, as opposed to the subsequent Peruvian cultures such as the Moche, which produced "thin walled" ceramics which were fired at about 1000 degrees C. This piece is also analogous to an example seen in "Arts Ancient du Perou" by Bernard Villaret, Times Editions Pub., 1978, p. 51. (See attached photo.) This attractive piece has some weight, as one handles this piece, and is in scarce mint condition with a vibrant deep reddish-brown glaze. One of the best recorded examples. Ex: Dr. Ernst J. Fischer collection, Germany, circa 1980's. Ex: Auktion Ketterer 119, Zurich, 1987. Ex: Private German collection. (Note: Additional documentation is available to the purchaser, including a TL test from Gutachten Lab., 11/23/1984, no. 584912, 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 #1394151
Apolonia Ancient Art
$675.00
This spiritual piece is a Huari double-spout vessel that dates circa 800-1000 A.D., and is approximately 6.2 inches high, by 5.4 inches in diameter. This piece is painted with vibrant colors in reddish-brown, cream, gray, and black colors. This piece shows a flying avain (parrot?) on each side, and is seen over a reddish-brown background. The bottom half of this vessel is painted with a dark gray color, along with the two raised spouts. This type of vessel is also known as a "bridge type" vessel, as there is a handle that is seen between both of the raised spouts. This piece is a "spiritual type" vessel, as the avains portrayed appear to be in flight, and/or are seen in the spirit world. The design of the piece also has geometric line design, and this is also an artistic hallmark of this culture. The main body of this vessel is intact, save for the bridge handle that was re-attached to both of the raised spouts, and this repair appears to be quite old, and was likely done 25 plus years ago. The thick glaze on this vessel is also intact, save for one side that has some minor losses. Overall, this vessel is in extremely fine condition, and is a nice example for the type. An analogous example was sold in Sotheby's Pre-Columbian Art, May 27, 1998, no. 257A. ($1,000.00-$1,500.00 estimates, $1,610 realized. See attached photo.) Ex: Private Austrian collection, circa 1980's-2000's. (Note: Additional documentation is available to the purchaser, including EU Export and US Customs Import documentation.) I certify that the piece is authentic as to date, culture, and condition:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1169806
Apolonia Ancient Art
$3,675.00
This large piece is a "Veracruz" culture standing priest, Remojadas type, that dates from the Classic period, circa 450-650 A.D. This piece is approximately 22.5 inches high, and easily stands by itself on a custom wooden stand. This piece is of an artistic style, known as "Remojadas", which is the name of a particular archaeological site, although objects in closely related styles actually come from a number of different sites in Veracruz. The name "Remojadas" thus refers to objects from south-central Veracruz, generally from the Classic-period. This piece is also known as a "Xipe-Toltec" type priest, as he portrays the god in costume. The "Xipe-Toltec" cult flourished along the Gulf Coast of modern day Mexico during the Classic and early Postclassic periods before gaining a prominent place in the Aztec pantheon, probably as a result of the subsequent Aztec domination of the Gulf Coast in the mid-15th century. Most Xipe figures vividly depict a human inside a flayed skin of another man, and this god was known as "Our Lord the Flayed One". According to Charles Phillips in "Aztec and Maya", Lorenz Pub., London, 2007, p. 62: "Victims killed in honour of Xipe Totec, the god of planting and vegetation, were shot with arrows so that their blood flowed into the earth like life-giving waters. Indeed, the Aztecs called human blood "chalchiuatl" (precious water). The corpse was then flayed and a priest would wear the skin in honour of the god. The rite was a celebration of the splitting of seeds that makes possible the growth of new vegetation each spring." Mary Miller and Karl Taube in "Ancient Mexico and the Maya", Thames and Hudson Pub., London, 1993, p. 188 also add: "At the time of the Conquest the Xipe festival fell during the spring, in our month of March, and much of its imagery suggests agricultural renewal: as a seed germinates, it feeds off the rotting hull around it, finally letting the new shoot emerge. The Xipe impersonators wore the old skins until they were rotten, when the young man once again emerged." The Xipe-Toltec piece offered here displays a priest wearing the flayed skin of a sacrificial victim, as seen with the rolled skin folds seen hanging below the neck, the skin leggings, the skin bundles tied at the back shoulder and the right hip, and the human skin mask. There are black-bitumen painted highlights seen on the headband with medallions, earplugs, lips, and eyes. There are also black-bitumen painted extruded eyeballs that are seen hanging from the eye openings, and the black lips accentuate an open mouth that shows this dramatic figurine chanting in a ritual posture. This expressive figure is also holding a floral designed fan with petals, which may represent the Xipe ritual of regeneration. This piece is made from a light gray terracotta, and has light tan mineral deposits. This complete piece was repaired from several large fragments, which is usually the case for large-scale Veracruz pieces such as this, and this piece is a better example than what is usually seen. The floral fan is an attribute that is seldom seen as well, and this is a principle reason why this large example is a scarce to rare type. The floral fan also indicates that the individual depicted is likely in the act of performing the "Xipe-Toltec" regeneration ceremony, along with the fact that this priest is seen with an open mouth who appears to be chanting in the act of the regeneration ceremony which ensured the planting and growth of the new years crops. The majority of these figurines are seen simply standing in an upright position, and are not seen holding any implements of any sort, but more importantly, the majority of these Veracruz "Xipe-Toltec" figurines do not display a dramatic facial expression such as this example. (Another Veracruz "Remojadas" example of this type and of the same size is offered in Bonhams African, Oceanic & Pre-Columbian Art, New York, Nov. 2012, no. 3. $8,000.00-$12,000.00 estimates, $10,000.00 realized.) For the type offered here see: "Ancient Art of Veracruz", Ethnic Arts Council of Los Angeles, 1971, no. 31. The piece offered here is definitely ceremonial in nature, and easily conveys this fact to the viewer, which is not often the case relative to figurines of this type. Ex: Private CA. collection, circa 1970's. Ex: Bonhams Art & Artifacts of the Americas auction, San Francisco, Sept. 2012, no. 1039. (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 : Pottery : Pre AD 1000 item #1250013
Apolonia Ancient Art
$3,675.00
This extremely rare and cute piece is a Moche blackware feline that dates Moche I Period, circa 300-100 B.C. This early Moche piece is approximately 8.25 inches long by 7.2 inches high. This black glossy glazed piece is intact, has no restoration/repair, and has some attractive light brown burnishing with some minute spotty black mineral deposits. This cute piece is a reclined feline that is seen with his long-tailed prey in his mouth, and this prey appears to be a small mammal and/or mouse. This feline's powerful bared teeth are seen holding it's prey securely in place, and this feline also appears to be relaxed, as he is seen reclined with his lower torso to one side along with his wavy tail. This feline is also seen with forward-curving ears, graceful incised whiskers, rectangular nose, and a compact body. There is also a stirrup-spout at the top of the body, and male attributes are seen between the hind legs. This type of Moche ceramic normally does not have prey in his mouth, and as such, is an extremely rare type. Another analogous blackware reclined feline piece, without the prey, is seen in Sotheby's Pre-Columbian Art, New York, Dec. 1981, no. 14. (See attached photo. $1,200.00-$1,800.00 estimates, $1,210.00 realized.) The feline offered here may be a rare black jaguar, or a smaller feline such as a puma. Wild felines held a special place in the mythology of the ancient Americas. The felines special night vision combined with their powers as hunters were often likened to the power of shamans who would incorporate feline elements into their costumes or paraphernalia. The piece seen here also has enlarged eyes, which emphasize this creature's excellent night vision, and the face of this feline has anthropomorphic characteristics. This type of piece is extremely rare, as it is a type that has the caught prey, is in superb condition, and has great eye appeal. 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:
All Items : Antiques : Regional Art : Americas : Pre Columbian : Pre AD 1000 item #1370666
Apolonia Ancient Art
$1,275.00
This superb Chimu silver offering bowl dates circa 1100-1350 A.D., and is approximately 7.4 inches long, by 4,75 inches wide, by 2.3 inches high. This attractive silver vessel was hammered from one single sheet of metal, and was formed into the oval shape seen here. This piece is also slightly thicker at the base, and graduates in thickness from the base to the thinner outer rim. The oval shape and size of this vessel is seen as early as 400 B.C., relative to ceramic vessels of the Olmec, and was a hand-held vessel used in ceremonies. In addition, this vessel has two added dimples, one on each side of the vessel, which also allowed one to easily hold this vessel with one hand. A third dimple was added to the base so that this piece could sit upright without falling over. There is also a punched decorative "cross hatch" design seen on the flat section of the outer rim, and this design is often seen on Chimu silver vessels. (See Sotheby's Pre-Columbian Art, Nov. 2006, no. 296, that shows a Chimu silver beaker with a "cross hatch" design on the upper rim.) The beautiful example offered here has some spotty black mineral deposits, and a dark gray patina with iridescent silver/gold highlights in sections of the vessel. The condition of this intact piece is superb to mint quality with no repair/restoration, and there are no small dents, cuts, or chips. Ex: Jean-Eugene Lions collection, Geneva, Switzerland, circa 1980's. Ex: Private New York collection. (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 1492 item #1377965
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 9.8 inches high, by 5.8 inches in diameter, and has a lustrous solid black glaze with some attractive and minor dark brown burnishing. There is also some minute root marking and spotty black mineral deposits, and this intact piece is in superb condition with no repair/restoration. This interesting piece shows four boxes on the upper shoulder, and within each impressed box is a standing "Staff God" deity who is seen wearing a "tumi-type" headdress with raised arms. These "Staff God" figures are also seen with a stippled background, which also makes them a prominent feature to the viewer, and they all appear to be holding a staff in the left hand. This staff was also a symbol of sacred rank and authority. There is also a single beaked bird seen on the raised stirrup-handle, and the vessel has a flat bottom with an "X" pattern. Ex: Private German collection, circa 1980's.-2000's. (Note: Additional documentation is available to the purchaser, including a TL authentication test document from Kotalla Lab, Germany, no. 08R131017, 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 #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 1492 item #1367435
Apolonia Ancient Art
$865.00
This lovely Aztec/Mixtec tripod dates to the Late Postclassic Period, circa 1000-1450 A.D., and is approximately 4.2 inches high, with a diameter at the rim of 5.5 inches. This piece is intact, with no noticeable repair/restoration, and has a light polychrome slip in black, cream, and light red colors. This piece is a tripod bowl with flat plank extended legs that also extend past the outer diameter of the bowl, and because this design, this piece is very stable sitting on a flat surface. This piece also has an attractive black and red "line-designed" geometric pattern that runs around the outer edge of the bowl, and are likely spiritual in nature. In addition, there are raised "line-designed" symbols seen on the inner surface of the bowl, and these symbols are likely sacred as well. These symbols are also completely intact, and this is rare for vessels such as this, as the raised lines are often broken and have missing sections. This piece was also produced by the Mixteca people for the Aztec nobility who preferred these vessels for their food service vessels. It's also unknown whether these vessels were used to grind or abrade a foodstuff or other organic substance, or weather they served a solely ritual, service function. An interesting intact vessel that is becoming scarce in today's market. 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 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 #1366326
Apolonia Ancient Art
Sold
This mint quality Moche stirrup vessel depicting a lucuma fruit dates to the Moche IV Period, circa 400-600 A.D. This attractive piece is approximately 6.9 inches high, by 4.25 inches in diameter, and has vibrant orange, dark red, black, and cream colors. This piece has a stirrup handle rising up from the center of the vessel, and the main body of the vessel depicts a very realistic opened lucuma fruit showing the dark reddish/brown seed within. The depiction of the lucuma fruit is very realistic in form, as well as with the color of the reddish/brown seed which in reality, is a glossy brown color. This piece is a votive ceramic, and likely was made to provide sustenance for the deceased in the afterlife. The Moche culture is also well known for it's realistic ceramic portraiture of actual individuals. The piece offered here is one of the best recorded examples of the lucuma fruit and is mint quality, with no repair/restoration. Ex: Dr. Gunther Marschall, Hamburg, Germany, circa 1960's. 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 : Pre AD 1000 item #1307402
Apolonia Ancient Art
$2,875.00
This large Mayan poison bottle dates to the Late Classic Period, circa 550-800 A.D., and is approximately 3.75 inches high, by 3.45 inches wide, by 1.5 inches thick. This flawless piece is also larger than most examples, and is mold made piece with a stamped mirror image on each side that was pressed into the clay. The image seen here is an audience scene between the Mayan God K, seen seated on the left, who is conferring with the seated Mayan God L that is seen to the right. Seen between them is a glyph band that is comprised of seven individual glyphs. Both of the Mayan gods seen here are also clad in intricate regalia and jade jewelry. God K also has an elongated snout and a smoke scroll that is emerging from his forehead, and God L, one of the lords of "Xibalba", who has an old man's wrinkled face, is seen wearing a distinctive "Moan Bird" headdress with upturned feathers. The Mayan "Moan Bird" was named "Oxlahun-Chaan" or "13-Sky", and he is the Mayan personification of the "Katun" and of the "sky". This piece also has mirror image double glyph bands seen on each side of the vessel. This piece is also intact, has no repair/restoration, and is in superb to mint condition. This piece also has some minute spotty black mineral deposits, and some attractive light brown burnishing. There are also traces of red cinnabar seen on the low relief areas on the outer surface, and this piece probably held powdered incense, or colored pigments, or red cinnabar that was sacred to the Maya. Red cinnabar was also widely traded within the Mayan world, and it was this type of vessel that was used to facilitate this trade. Red cinnabar has preservation properties, as it was mercury based, and this is why this type of Mayan bottle is often referred to as a "Poison Bottle". The Mayan elite also lined their tombs with this material, and in addition, traces of this material are often found on Mayan ceramics, as the Mayan tombs and ceramics were given "eternal life" with this type of material. This piece is a superb example, not only for it's condition, but also because the mold made and stamped images are very clear. This piece is also safe to handle, as the red cinnabar is deeply embedded into the clay and there are only trace amounts. An analogous example with the same stamped design and condition was offered in Sotheby's Pre-Columbian Art, New York, May 1996, no. 344. (The Sotheby's example has the normal size that is approximately 3 inches high. $1,500.00-$2,500.00 estimates, $2,070.00 realized.) Ex: New York collection, circa 1990. Ex: Ron Messick Gallery, Santa Fe, NM, circa 1990's. Ex: Spendors of the World Gallery, Haiku, HI. (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 #1239297
Apolonia Ancient Art
$3,675.00
This extremely rare piece is a Chavin "stirrup handle" ceramic that dates to the Early Horizon period, circa 700-400 B.C. This piece is approximately 8.5 inches high by 7 inches long. This interesting piece is a standing animal, which represents a coatimundi, or possibly a fox, as the lively head of this standing animal has an elongated nose and peaked ears. This piece is intact, has no repair/restoration, and is an orange and light red color. This esoteric piece is in overall superb condition, has some spotty black dotted mineral deposits, and some normal stirrup handle surface roughness. This piece has four large circle designs, and some geometric line design seen on each side, at the front, and on the face of this animated creature. The rectangular shaped head has dotted eyes, and is seen slightly tilted to the right, which give this piece a high degree of eye appeal and a very animated look. The mouth also appears to be slightly turned as well, and this movement noted with the head and mouth may represent this piece as a "transformation type" vessel. This type of artistic style, as noted above, is also attributed to the Chavin type ceramics known as "Tembladera style". This remarkable piece was produced at a very early period, regarding Pre-Columbian Andean cultures, and has a rare design with the esoteric curved hind quarter of the piece. This type of esoteric design is also rare regarding Chavin type ceramics, and is seldom seen on the market. A piece with analogous artistic style was offered in Bonham's Pre-Columbian Art, San Francisco, CA., Dec. 2006, no. 5352. (This stirrup vessel type piece has analogous line design, color, and nose design, and depicts a humanoid figure.) Another analogous stirrup type ceramic vessel was offered in Christie's Pre-Columbian Art, New York, Nov. 2006, no. 41. (This vessel depicts a jaguar with a slightly tilted head, peaked ears, and dotted eyes. The head is also a triangular designed head with an elongated snout, and this head is also turned to the right. This piece is classified as "Tembladera", circa 700-400 B.C. $4,000.00-$6,000.00 estimates, $4,800.00 realized. See attached photo.) The piece offered here is an esoteric design that is seldom seen on the market, and it is extremely rare in it's intact condition. Ex: Private German collection, circa 1970's. Ex: Dr. Ernst J. Fischer 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: