Intricate Details and Artistic Narrative of this
Avian Axe God
This Costa Rican Avian Axe God pendant, finely carved from lustrous green jade, is a powerful example of Pre-Columbian artistry from the Greater Nicoya region. Measuring over 5 inches in length, the piece features a stylized avian head with a pronounced beak motif and a streamlined, anthropomorphic form, symbolizing divine protection and elite status. The front displays a careful polish that brings out the depth and natural tonal variations of the jade, while the reverse remains unpolished, typical of pendants intended for wear against the body. There is some iron staining on the reverse, a natural result of long-term burial in mineral-rich soils, which further supports its antiquity. The surface shows excellent natural patina and light wear consistent with age and ceremonial use, entirely appropriate for a genuine ancient object. This Axe God would have served as a personal amulet or status emblem, worn by a high-ranking individual within the community. Measures 5.125″. It is presented on a custom wood mount and is ready for display. Approximately 6″ overall. Greater Nicoya region, Costa Rica. Early Classic Period, ca. 500 – 800 AD.
Condition: Intact and in very good condition overall.
Provenance: Ex. Pelzner Collection, San Anselmo, CA
Price: $1,295. – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Aztec Carved Shell Ornament of EhecatlIntricate Details and Artistic Narrative of this
Aztec Wind Deity
This evocative carved shell ornament, measuring approximately 6 inches by 7 inches by 2 inches thick, is an actual cross-section of a conch shell—its spiral form deeply symbolic of Ehecatl, the Mesoamerican Aztec wind deity. Such spirals were sacred symbols of breath and divine motion in Aztec cosmology and were commonly represented in ornaments and ritual objects associated with Ehecatl-Quetzalcoatl.
The spiral conch, known as the “wind jewel” (ehecacozcatl), was closely associated with the movement of air and spirit, embodying the breath of life. Among the Maya, a related concept appeared in “T”-shaped imagery: the vertical bar symbolizing inhalation (movement inward, toward the underworld), and the horizontal bar exhalation (movement outward into the cosmos). T-shaped windows in Maya architecture are believed to reference this dynamic of breath and passage, with some oriented toward Venus, a planet ritually tied to the deity Quetzalcoatl.
At Teotihuacan, priests and ritual practitioners are often depicted wearing similar shell pendants across the chest, likely as a mark of their connection to the wind deity. Some scholars also note the resemblance between the spiral form and the structures of the human ear, suggesting possible symbolic associations with hearing or perception. Additionally, certain Olmec monuments feature ear ornamentation that may hint speculatively at early ideas of spiritual or visionary “second sight.”
The piece includes two small perforations for suspension, indicating it may have once been worn, perhaps by a ritual practitioner or medicine figure, as part of a ceremonial ensemble. Small sediment deposits remain throughout, pointing to a possible burial context. One tip of the shell is damaged, and another area shows a historical repair, with adhesive still faintly visible. An inventory number also remains on the inner surface.
While the piece was acquired under the assumption that it originated in the Colima culture of West Mexico, closer stylistic and iconographic analysis—especially the emphasis on the spiral and Ehecatl association—suggests a more likely Central Mexican origin, dating to the Postclassic Period (ca. 1200–1521 CE). Spiral shell forms were traded widely across Mesoamerica, but this example’s symbolic depth and physical form strongly connect it to the Aztec world.
This is a rare and potent artifact, merging symbolic resonance with ceremonial craftsmanship—an exceptional representation of the enduring breath of Ehecatl.
Provenance: Ex. Dr. Allen Heflin Collection; Hank Johnson Collection
Price: $8,800. – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Veracruz Avian Stone Hacha – Volcanic Ritual SculptureIntricate Details and Artistic Narrative of this
Veracruz Avian Stone Hacha
Pre-Columbian, Gulf Coast Mexico, Veracruz culture, circa 6th to 9th century CE. This exceptional carved volcanic stone hacha presents a dramatic avian-anthropomorphic visage, masterfully executed with refined balance and bold symbolic features. The face is defined by deeply recessed circular eyes set beneath a prominent brow, a sharply modeled nose-beak hybrid extending over thick, flared lips, and a pronounced chin. A striking crest, incised with vertical grooves, crowns the head, suggesting ritual headdress or stylized plumage. The concave reverse indicates it was intended for attachment, likely to a ceremonial yoke (yugo) or as a standalone ritual object.
Avian imagery held profound cosmological significance within Veracruz visual culture, referencing celestial messengers and the liminal space between earth and sky. Birds—particularly those with predatory or solar associations—were linked to divine communication and elite power. The hacha’s form reflects this belief system, fusing human and bird characteristics into a potent ceremonial symbol. Its weathered surface bears subtle earthen deposits and mineral patina in tones of greyish-beige, ochre, and sage, offering both visual richness and ancient integrity.
While associated with the Mesoamerican ballgame, hachas of this complexity were not utilitarian. Rather, they were ceremonial regalia—worn or displayed during elite rituals that fused athletic performance with religious meaning. Their axe-like form gives them the modern name hacha, though their purpose was clearly symbolic.
This example is in excellent condition, with crisp carving and powerful formal presence. Measures 9″.
Provenance:
Ex-Nancarrow Collection, acquired in the 1960s; thence by descent and held in a respected U.S. private collection.
Price: POR – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Inca Child’s Leather Sandals Chimu Cast Bronze Figure OrnamentIntricate Details and Artistic Narrative of this
Pre-Columbian Cast Bronze Figure
This Chimu cast bronze figure ornament, dating from approximately 900 to 1470 AD, stands at 4.25 inches tall and exhibits a rich, dark patina that enhances its depth and historical presence. The figure is depicted in a rigid, upright stance with both hands positioned near the chest, possibly in a gesture of reverence or ritual significance. His facial features are distinct, with large, almond-shaped eyes, a prominent nose, and a closed mouth that conveys a composed, solemn expression. Around his neck, he wears a detailed necklace, a common feature in Chimu metalwork that signifies status or ceremonial importance. His large, circular ear ornaments appear to have dangles that intersect with the necklace, further emphasizing his adorned appearance.
Atop his head, the figure wears an elaborate headdress or hat, possibly representing a ceremonial headpiece associated with high-status individuals or deities. The headdress features two prominent vertical extensions, which could symbolize authority, divine connection, or traditional Andean headgear.
The craftsmanship of the front side is intricate, with detailed facial and clothing elements, while the back is left flat and undecorated, a common trait in Chimu metalwork, possibly indicating that it was meant to be viewed from the front or affixed to another surface. The piece is extremely heavy for its size, suggesting it may not have been intended to be worn but rather displayed or used in a ritual setting. The rich, dark patina covering the surface speaks to the artifact’s age and the natural oxidation of the bronze over centuries, further emphasizing its authenticity and time-worn beauty.
Similar examples are housed in The Met. Object Number: 64.228.709 and 64.228.708
Chimu, Peru. ca. 900-1470 AD
Measures: 4.25″
Provenance: Ex-B. Donaldson Collection, Portland, ME. Acquired in the 1960s.
Price: $895. – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Chancay Textile Fragment – Pre-Columbian Peruvian WeavingIntricate Details and Artistic Narrative of this
Pre-columbian Chancay Textile
Chancay, Peru. ca. 1000-1470 AD
Measures: The panel is 14″ x 7.5″; the Oakwood glass display is 18″ x 12″.
Provenance: J. Dunbar Collection, Canada. Acquired in the 1960s.
Price: $1285. – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Stone Age Tools from Ecuador’s Andean HighlandsIntricate Details and Artistic Narrative of these
Stone Age Tools
This exceptional set of five Equatorial Stone Age tools was uncovered across the Sierra Andean region of Ecuador, known for its rich history of early human settlement. Dating from approximately 10,000 to 2,000 BC, these artifacts reflect the advanced craftsmanship and practical ingenuity of ancient Andean cultures, possibly linked to early societies like the Cotocollao (1500–500 BC), who inhabited this highland region.
The set includes three perforated stone tools, likely used as hafted axes or ceremonial implements, and three ground stone axes with sharp or chisel-like edges. The perforated pieces exhibit precise drilling techniques, with holes carefully bored from both sides, a hallmark of pre-Columbian stoneworking. The variety in size, weight, and form suggests a range of uses, from woodworking to ceremonial or symbolic purposes. The largest tool measures approximately 5 inches, with the others proportionally smaller.
These tools align closely with those illustrated by Edward Whymper in Travels Amongst the Great Andes of the Equator (1892), underscoring their historical significance and widespread usage during the Equatorial Stone Age. Found in excellent condition, each piece remains intact with minor wear consistent with age and use.
Cotocollao, Ecuador. ca. 1500–500 BC
Measures: Largest stone is approx. 5″; Wood glass display 9″ x 11″.
Provenance: Private Florida Collection; Dr. Solorzano Collection, Guayaquil, Ecuador.
Price: $2250. – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Moche Copper Tumi with Zoomorphic Jaguar Wood HandleIntricate Details and Artistic Narrative of this
Moche Copper Tumi
This exceptionally rare Moche copper tumi retains its original, intact wooden handle, an extraordinary survival given the organic nature of wood and the artifact’s age. The handle is carved with a zoomorphic finial depicting the image of a jaguar, an animal central to Moche mythology and revered for its power, agility, and hunting prowess.
Likely crafted from chachacoma wood, the handle exhibits signs of degradation over time, including natural separation and surface wear. Subtle color variations suggest that it may have once been bound, a detail that enhances its historical interest. Despite these age-related effects, the handle remains largely intact—a remarkable feat for a piece dating back nearly 1,500 years.
The copper blade features a vivid green patina, reflecting centuries of exposure to the elements, with one side polished to reveal its original metallic luster. Tumis of this nature were often ceremonial, symbolizing prestige and possibly used in important rituals.
Measuring just under seven inches, this tumi stands out for its rare combination of symbolic artistry, functional design, and exceptional preservation. The intact wooden handle, zoomorphic jaguar finial, and beautifully aged copper patina make it a compelling addition to any collection of authentic pre-Columbian artifacts. – Exceptionally Rare.
Moche, Peru. ca. 200-700 AD
Measures: 7″; Wood glass display 9″ x 11″.
Provenance: Private Florida collection; P. Goodman, TX
Price: $1285. – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Kawesqar Bone Harpoon Tip – Tierra del Fuego, PatagoniaIntricate Details and Artistic Narrative of this
Tierra del Fuego Harpoon Tip
This rare bone harpoon tip, measuring 6.75 inches in length, originates from Tierra del Fuego in Chilean Patagonia, home to the Kawesqar people, a maritime indigenous group known for their seal-hunting and seafaring traditions. Acquired in the 1960s by a world traveler, this piece was hand-carved and used for marine hunting, reflecting the ingenuity of a culture that thrived in the harsh coastal environments of the Brunswick Peninsula and the remote islands northwest of the Strait of Magellan.
The exact date of creation is unknown; however, based on its stylistic attributes and patina, it can be reasonably attributed to the 18th or 19th century. Crafted from whale or sea mammal bone, the harpoon exhibits a light, naturally aged patina, suggesting possible long-term exposure to the elements, which may indicate it was a surface find. Utilitarian tools like this were essential for survival, allowing the Kawesqar to hunt efficiently in the challenging waters of southern Patagonia. A fascinating anthropological artifact from a culture that now numbers fewer than 3,000 members, this harpoon offers a tangible connection to one of the last indigenous maritime hunter-gatherer societies of Patagonia.
Measures: 6.75″; Riker box included.
Provenance: Private Florida collection; R. Van Atta collection. Fort Worth, TX
Price: $785. – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
A Fine Jamacoaque Sitting FigureIntricate Details and Artistic Narrative of this
Fine Jamacoaque Figure
This rare Jamacoaque ceramic figure from Ecuador, dating between 500 BC and 500 AD, is a remarkable example of the culture’s artistic craftsmanship. Standing 8 inches tall, it is depicted sitting on its buttocks, holding manioc tubers in both hands, an important crop in ancient Ecuadorian society, often associated with sustenance and ritual significance.
The figure wears a distinctive helmet adorned with a horn-like pointed object, possibly denoting status or ceremonial function. Its facial expression is highly animated, featuring arched eyebrows, deeply incised almond-shaped eyes, and an open mouth, suggesting speech or ritual chanting. A labret, or chin plug, is inserted below the lower lip, a sign of high status.
Adornments include large elongated ear ornaments and a necklace with a round pendant, enhancing its authoritative presence. A finely sculpted loincloth covers the lower body, while the hands, firmly grasping the manioc tubers, display carefully defined fingers that demonstrate the artisan’s skill.
Made from cream-colored terracotta, the figure’s burnished surface is smooth. Such figures were likely used in rituals or funerary contexts, representing revered individuals, ancestors, or spiritual beings within the Jamacoaque culture. Manabi region, Ecuador.
This piece is an excellent example of the Jamacoaque creativity and quality.
Provenance: Private Florida collection
Price: 1,250 – Domestic Delivery Included
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