This extraordinary pre-Columbian Taino Arawak Cohoba inhaler is an extremely rare ceremonial artifact, masterfully hand-carved in wood—a highly perishable medium seldom surviving from the pre-contact Caribbean. Rendered in the form of a seated Zemi anthropomorphic figure with arms dramatically raised above the head, the piece emanates both spiritual intensity and elite craftsmanship. The figure’s face is striking, with deeply incised circular eyes, a sharply ridged nose, and a broad mouth inlaid with white shell teeth. The shell, considered sacred by the Taino, signals the object’s elevated ritual status and underscores its symbolic function as a conduit to the spiritual world.

Intricate geometric carvings cover the limbs, torso, and cranial surface, echoing the visual language of Arawak cosmology. The pose—knees drawn upward and arms lifted high—reflects shamanic invocation or transformation, typical of spiritual ecstasy induced during the Cohoba ceremony. Extending from the upraised hands are twin perforated nasal tubes used to administer Cohoba, a psychoactive powder derived from Anadenanthera peregrina seeds. A third opening at the base connects with these ducts, completing a sacred instrument used exclusively by shamans (bohíques) to enter trance states, communicate with zemis (ancestral spirits), and receive visions.

What makes this piece especially significant is its material. While Cohoba inhalers are typically encountered in stone or ceramic, surviving wooden examples are almost unheard of due to the tropical climate and centuries of exposure. The wood’s natural separations and age fissures are authentic indicators of its antiquity and lend further credibility to its origin. Despite these age-related shifts, the figure remains exceptionally well preserved, with all key features intact. It is presented on a custom stand that reinforces its stature as a sacred object.

To date, no other wooden Taino Cohoba inhaler of this quality and completeness is known to have emerged on the open market, underscoring the exceptional rarity of this example. For reference, Sotheby’s offered a comparable wooden Cohoba inhaler in their African, Oceanic, and Pre-Columbian Art sale, Lot 11, May 2010, and realized $290,500.

Created by the Taino, principal inhabitants of the Greater Antilles before European contact, this inhaler was not a common ritual tool but a sacred implement reserved for high-ranking spiritual leaders. Its complex iconography, rare medium, and remarkable preservation make it a museum-caliber artifact and an unparalleled acquisition for serious collectors of Caribbean and pre-Columbian art.

Hispaniola, ca. 1300-1500 AD. Measures: 9″/22.86 cm in height; 10.5″/26.67 cm on custom stand.

Provenance: Private USA collection, acquired 1950 through 1980, thence to current owner by inheritance.

This evocative terracotta head fragment, dating to the Late Classic period (circa 600–900 CE), presents a dramatic rendering of a Maya supernatural being—possibly a solar deity or elite ancestral figure associated with dynastic power. While it bears visual echoes of K’inich Ajaw, the Maya Sun God also known as God G, it diverges from canonical traits such as squared solar eyes and T-shaped incisors. Instead, this expressive sculpture reflects a localized or regionally stylized solar or divine authority interpretation.

Standing approximately 6 inches in height, the face is highly emotive, with bulging almond-shaped eyes, a deeply grooved brow, and a strongly downturned mouth pierced with two round perforations—perhaps for ritual smoke emission or symbolic breath. A single large circular earspool remains on the figure’s right ear, indicating elite or divine status. The ridged, semicircular headdress evokes radiant energy. It may suggest solar affiliation, even if not directly referencing the traditional headdress of God G. A central vertical ridge on the forehead could signify a stylized version of the “k’in” glyph—Maya for “sun”—a mark often associated with rulers and divine beings.

This head likely belonged to a ritual urn, effigy censer, or tomb guardian figure and would have stood in a prominent ceremonial context. Its forceful expression, partial red pigment remains, and sculptural presence suggest it was created not merely for ornamentation but as a conduit for ancestral or divine power. Whether linked to the solar cycle, dynastic legitimacy, or protective intercession, this figure resonates with the Maya worldview in which deities, ancestors, and kings were intertwined.

Provenance:
From the collection of P. Kahn by descendent from his mother. Miami, FL; R. Castagna, Elliot, MD.

A superb flint spearpoint from the Maya regions, dating to the Late Classic period, circa 500–800 A.D. Knapped from tan flint into a beautifully tapered elliptical “tongue” form, this blade exhibits expert craftsmanship and a balanced silhouette emblematic of elite Maya weaponry. The surface bears a rich, ancient patina that attests to its age and authenticity. Measuring 7-1/4 inches in length by 3-1/4 inches wide, it remains completely intact and in exceptional condition.

This piece comes from a distinguished provenance: originally part of the respected Penti Tolaama collection in New York City, assembled in the 1970s–1980s, and subsequently held in a New Jersey private collection. A rare and elegant artifact, this spearpoint exemplifies the martial and ritual sophistication of the ancient Maya.

From the heart of the ancient Maya world—spanning southern Mexico, the Yucatán Peninsula, and Guatemala—this masterfully carved pendant dates to the Late Classic Period, circa 550 to 900 CE. Fashioned from an olive shell, it features a haunting skeletal visage sculpted in openwork relief. Perforations at both ends suggest it was worn suspended, perhaps as a necklace or affixed to ceremonial attire where it would have functioned as a tinkler, resonating softly with each movement.

In the cosmology of the Maya, shells were not merely decorative—they were potent symbols drawn from the sea, representing the primordial realm from which human life emerged and the fluid threshold into Xibalba, the Maya underworld. The gaunt skull motif carved into this piece underscores its ritual power, echoing the Maya’s profound preoccupation with mortality, transformation, and cyclical time. Skulls were ubiquitous in Maya iconography, signifiers of death and the sacred continuum between worlds.

Measuring 2.375 inches in length by 1 inch in width (6 cm x 2.5 cm), this pendant is presented on a simple wooden base for illustrative purposes. A museum-quality custom stand can be produced upon request at no additional cost; please allow five to seven days for fabrication. The shell itself produces a surprisingly resonant tone when gently tapped, alluding to its role as ornament and sound. Shells in Maya culture were closely linked to elemental forces—wind, breath, water, and music. Conches were transformed into trumpets, giving voice to the lifeforce of the player, while smaller shells such as this were often buried as ritual offerings or integrated into architectural dedications. Olive shells, in particular, held such symbolic significance that they appear to have served as glyphic symbols within the Maya writing system.

Whether once worn in life or offered to the divine, this carved shell embodies the union of adornment, sound, and sacred meaning that defined Maya ritual aesthetics.

For a similar collection of these skull shells, please see the Minneapolis Institute of Art (MIA) website, accession number: 2001.272.28.1-19. Also, University of Miami Lowe Art Museum, object number: 85.0077

Provenance: Ex-Nancarrow Collection, acquired in the 1960s; thence by descent and held in a respected U.S. private collection.

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