This Maya stone mask presents an intriguing portrayal of a male figure, likely depicting Kʼinich Janaabʼ Pakal, the renowned Mayan ruler, also known as Pakal the Great. The finely sculpted face features stylized characteristics typical of Maya artistry, suggesting this mask represents a noble or deity, possibly Pakal, in his youth. The highly detailed facial features, including deeply carved, almond-shaped eyes, a broad, prominent nose, and a solemnly parted mouth, reflect the craftsmanship associated with elite Maya figures. The distinctive bob-like hairstyle, with its unique middle part and straight vertical lines, further indicates the mask’s cultural and ceremonial significance. It is carved from fine-grained limestone and bears manganese dendrites, which attest to the stone’s age and reinforce its connection to the time of Pakal. These dendrites, formed over centuries, add to the historical value of this remarkable piece, linking it directly to the Classic Period of Maya civilization, which spanned from 250 AD to 900 AD, with Pakal ruling from 615 AD to 683 AD.
Measuring 7.75 inches tall, 3.37 inches wide, and 2.5 inches in depth, the mask is slender and features a hole at the top designed for suspension, suggesting it could have been used as an elaborate pendant. The back of the mask is concave, adding to its functionality and wearability. Unique in its depiction, this mask stands out, as no known masks portray a younger Pakal, making it an exceptional and rare find. With its commanding presence and intricate details, this mask offers a captivating glimpse into the artistic and cultural expressions of the Maya, particularly during Pakal’s era.
Provenance: Private Georgia Collection. Acquired by way of inheritance in the 1970s
Price: POR
This item may become featured here in the Native American Art Magazine
Click here to see our next item.
Are you seeking a particular piece? Please feel free to let us know.
Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Amazing Olmec Jade Were-Jaguar Pendant
A remarkable were-jaguar artifact from the Olmec civilization is a Nephrite dark green jade pendant from the Middle Pre-classic Period, dating between 900-600 BCE. This pendant is a robust 3-3/4 inches tall and represents the were-jaguar motif, a central figure in Olmec art. The pendant features a stylized were-jaguar head with a knobbed brow, symbolizing power and ferocity. Its deep-set eyes, accentuated by drilled holes at the edges, convey an otherworldly presence, while the prominent nose and downturned mouth, both with drilled edges, emphasize the hybrid nature of this mythical figure. Elongated ears, pierced with holes, and additional openings atop the pendant suggest its use in ceremonial contexts, likely worn by Olmec elites to signify their spiritual authority and connection to the divine.
The Olmec civilization, often regarded as the “mother culture” of Mesoamerica, thrived along Mexico’s Gulf Coast between 1500 and 600 BCE. Renowned for their sophisticated artistry, monumental architecture, and deeply rooted religious practices, the Olmecs laid the foundation for later cultures such as the Maya and Aztecs. The were-jaguar motif, depicted in this pendant, represents the duality of human and animal, life and death, and the intersection of the natural and supernatural worlds. The jaguar, a revered predator in the Mesoamerican rainforest, symbolized strength, power, and mysticism, making it an ideal emblem for leaders and shamans.
Jade, especially the rare and durable Nephrite variety, was the material of choice for these pendants due to its vibrant green hue, associated with life, fertility, and renewal. The laborious process of obtaining and crafting jade, combined with the pendant’s intricate design, underscores its importance within Olmec society. Such pendants were likely worn by rulers or shamans as protective amulets, believed to harness the spiritual power of the were-jaguar to aid in rituals, warfare, or communication with the divine.
In death, the Olmecs often placed these pendants in tombs to safeguard and guide the deceased through the afterlife. Their presence in burial sites highlights their role as powerful symbols of identity, lineage, and spiritual connection.
Jade were-jaguar face pendants offer profound insights into the Olmecs’ complex cosmology and social hierarchy. These artifacts reveal the civilization’s deep reverence for the natural world, belief in the jaguar’s transformative power, and intricate systems of spiritual and political authority that shaped one of Mesoamerica’s earliest and most influential cultures.
Provenance: Private Canadian Collection acquired by way of inheritance.
Price $9,800.
This item may become featured here in the Native American Art Magazine
Click here to see our next item.
Are you seeking a particular piece? Please feel free to let us know.
Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Moche Miniature Copper Skeleton Couple
A miniature pair of rare Moche copper skeleton figurines. These delicate hollow copper artworks reflect the sophistication of Moche metallurgy. Each skeletal figure showcases openwork in the chest detailing their ribs, with one figure standing while the other is in a sitting position, masturbating. The depiction of skeletons and skeletons masturbating is rich with potential meanings, ranging from spiritual and ritualistic to social and humorous. These images reflect the complexity and depth of Moche beliefs about life, death, and the human condition, offering a fascinating glimpse into their world. Understanding these themes requires a nuanced approach, considering the broader cultural, religious, and societal contexts in which these artworks were created. The rare Moche copper skeleton figurines are a tangible testament to this intricate cultural heritage, capturing the essence of Moche artistry and ideology.
The Moche culture, flourishing on Peru’s northern coast from approximately 100 to 800 CE, is renowned for its intricate and often provocative ceramic art. Among the many themes in their pottery, images of skeletons and scenes of skeletons masturbating hold particular significance, revealing deep insights into Moche beliefs and practices.
Skeletons in Moche art primarily symbolize death and the transition to the afterlife. This reflects the Moche’s profound interest in mortality and what lies beyond death. Many of these art forms have been discovered in tombs, suggesting their role in burial rites and beliefs about the afterlife. They may have been intended to protect the deceased or guide them through their journey in the afterlife. The Moche also revered their ancestors, and skeleton imagery might reflect this practice, illustrating the continued presence and influence of ancestors in the lives of the living. Additionally, these images could be linked to shamanistic rituals, where shamans invoke spirits and communicate with the dead, highlighting the shaman’s role as a mediator between worlds.
The depiction of skeletons masturbating in Moche art adds another layer of complexity. The Moche were not shy about illustrating sexual acts, and masturbation scenes, even involving skeletons, highlight their open and unembarrassed approach to sexuality. While the act of masturbation might seem to counter fertility, it could also symbolize life force and masculinity. This becomes particularly poignant when juxtaposed with the image of death, creating a narrative about the cycle of life, death, and rebirth.
These scenes might also represent ritual acts to ensure fertility and agricultural abundance. The juxtaposition of life, through sexual acts, and death, through skeletons, could symbolize the regenerative powers necessary for a successful harvest. Additionally, they could be part of broader mythological stories, conveying lessons or beliefs about the afterlife, the gods, or the natural world, illustrating myths where death and sexuality intersect meaningfully.
Measuring: The standing figurines is 2.5″ in height. 3.25″ overall height on custom stand.
Moche, Trujillo in the Moche River valley, Peru. c. 100 – 700 AD.
Condition: Oxidized copper with some rib loss in the back; otherwise, it is in excellent condition. The natural patina is consistent with age.
Provenance: Private Florida collection; Ex C. Ronzio collection, Eugene, OR – by way of inheritance. Acquired in the 1960s
Price: $6,850.
This unique and exceptionally rare artifact from the Moche culture of ancient Peru is a stand-alone hollow copper phallus measuring 2.5 inches in length. It features a remarkable human element: the shaft’s underside represents the human body that incorporates arms and a flute. At the same time, the phallic top depicts a man’s head with detailed facial features. Overall, the imagery within the phallus is of a musician blowing on a flute. This intricate detail adds a layer of complexity and artistry to the piece. Additionally, the piece includes large testicles, enhancing its symbolic significance. This artifact is a fine example of Moche craftsmanship and symbolic artistry.
The Moche civilization is renowned for its rich artistic heritage, particularly in ceramics and metallurgy. This artifact is a testament to their advanced metalworking skills and complex views on sexuality and fertility.
Erect Phallic imagery was crucial in Moche’s art and symbolism, carrying deep cultural and religious significance. Integrating a human flutist element within the phallus conveys multiple layers of meaning. The flute is often associated with fertility and agricultural rituals, suggesting its use in ceremonies intended to invoke prosperity and divine favor. The depiction underscores the Moche’s sophisticated understanding of the interconnectedness of music, fertility, and spiritual well-being. Music, an integral part of Moche ceremonies, was believed to enhance ritual potency and communicate with the divine. The stature of an erect penis and large testicles further emphasize fertility and potency, making this artifact a powerful symbol within Moche cultural and religious practices.
The Moche achieved the creation of hollowed copper figures through several advanced metallurgical techniques. They often employed methods such as hammering and annealing, repoussé, and chasing to produce intricate designs with hollow forms.
Artisans would start by hammering copper into thin sheets. These sheets were then annealed, heating the metal to make it more malleable and easier to work with. They could shape the metal into hollow forms by hammering the copper sheets over molds or cores made from clay or stone. Once the desired shape was achieved, the molds or cores could be removed, leaving behind a hollow metal figure.
Repoussé and chasing were also essential in creating detailed hollowed figures. Repoussé hammered the metal from the reverse side to create raised designs while chasing refined designs from the front. This combination allowed for high levels of detail to be achieved on the hollow figures.
To construct more complex figures, the Moche used soldering and riveting to join separately made parts. For example, different sections of a figure, such as limbs or decorative elements like the facial features, could be created individually and then assembled. This method enabled the creation of elaborate and multi-part designs that retained their hollow nature.
Through these sophisticated methods, the Moche produced highly detailed and intricate hollowed copper figures like this phallus, showcasing their advanced metallurgical skills and artistic creativity.
Moche, Trujillo in the Moche River valley, Peru. c. 100 – 700 AD.
Condition: Excellent, with a natural patina consistent with age.
Provenance: Private Florida collection; Ex C. Ronzio collection, Eugene, OR – by way of inheritance. Acquired in the 1960s
Price: $5,850.
This is a handsome Chorrera manioc whistling vessel that stands on three tear-shaped legs. They may be manioc tubers, or perhaps sweet potatoes, with a bridge handle on top in the form of an extended monkey. Traditional Chorrera geometric markings decorate the vessel’s legs. The cream-colored terracotta item whistles through the spout. It has been reassembled from large sections with restorations over the break lines. It’s a beautiful stand-alone piece.
Chorrera, Ecuador. 1000-500BC. Over 7″ in height.
Provenance: Ex-Fernandez Leventhal Gallery, NY
Price: 1,250.
These are enigmatic stone artifacts from La Plata Island, Ecuador -Bahia Phase. They are perforated rectangular blocks and feature a multitude of engraved center rings and dot ornamentation throughout the stone’s surface. Each stone has a particular set of quantity, and sized circles shared equally on all four sides. The perforations are started from the ends and meet in the middle, tapering from the center towards the corners. As for suspension, no evidence is seen of use on the edges of the holes. Their use is still unknown. However, several hypotheses are that they could have been used for navigation aids, games or possibly as spindles. These types of stones finds have been restricted to a ceremonial center at the Isla de la Plata site in Ecuador. They are volcanic tuff and grayish-white in color. Bahia Phase ca. 300 B.C. – 500 A.D. The largest measures 2.5”/6.35 cm in length. These are ultra-rare specimens. Choice.
Similar examples are shown in very limited published works: “Archaeological Investigations on the Island of La Plata, Ecuador” by George A. Dorsey and “Ecuador” by Betty J. Meggers, pg.88.
Provenance: Ex – Mann collection. Acquired 1970’s
Price – $3,800
An extraordinary pair of charming Jamacoaque Rowing Figurines. They rarely appear on the open market. Both are poised skillfully in a stand-up paddling position. They wear an oversized loincloth, a wraparound headdress, large ear and nose ornaments, and lovely remaining yellow, red, and white pigments.
Small repairs with minor loss; otherwise, they are in excellent condition. Measures 4.5”/11.43 cm. Manabi, Ecuador 600 BC – 500 AD.
The only known examples, probably made by the same hand, are exhibited at the Museo Antropologico y de Arte Contemporaneo in Guayaquil, Ecuador. – Last image shown.
Provenance: Ex-Morales, FL Acquired by inheritance 1970’s
Price – $1,890
These are important ancestral stone idols from the Bahia culture of Ecuador. Ca. 500-500 A.D. Curved tusk-like shape with anthropomorphic features incised on the front. Faces have ovoid eyes, mouths, and a parallel-sided nose. Horizontal band(s) on top of the head depict crowns. Long, slender arms are to their sides, and their hands are slightly elevated to the chest in a praying state. Found both on the Island of La Plata and in habitation sites in Manabi. By contrast, Valdivian flat plaques (Palmer Stone) are similar but lack the distinctive rounded, tusk-like shape. Very Rare
Measures: Left – 6.5”/16.51 cm. Price $2,850
Middle – 6.0”/15.24 cm. Price $2,850
Right – 7.3”/18.41 cm. Price $2,750
These unique figurines were deposited in small clusters and buried upright in small shallow holes exposing only their heads. Indication of offerings or part of some ritual. They are limited to be found within the borders of modern Ecuador as none are known from Peru or Colombia. Many ceramic figurines within the Regional Development Period are clearly depicted wearing or holding tusk-shaped figurines around the neck or held in the hands.
Ref: Pia Hahn, Institute of Archaeology; Dorse, Field Museum; Ecuador, Betty J. Meggers.
Similar examples are shown in Charms in pre-Columbian Ecuador pg 40.; Amerindian Signs pg 96, plate 59;
Pre-Columbian Art of South America by Alan Lapiner, pg 449, plate 739
In the ancient Americas, skilled craftspeople made luxurious goods restricted for the right and the entitled. Their culture crafted these prized objects for ritual and regalia, using their most valued materials. Jade, rather than gold, was the most precious substance to the Olmecs and the Maya in Mesoamerica, and the Incas and their predecessors in the Andes valued feathers and textiles above all.
This is a beautiful Nazca Plume. Orange-colored parrot feathers braided with vegetable fiber. Completely intact, all original. When found in their original context, they were parts of headdresses or were placed on the head of the deceased. It is also possible that such ornaments were worn by priests and higher dignitaries and used in other ways or had other functions. Measures 10”/25.4 cm by 9”/22.86 cm. South coast, Nazca. Ca. 100 – 700 A.D.
Condition: Very Fine
Comes in a front loading table glass display case approx. 14”/35.56 cm square.
Jamacoaque Copper Nose Ornaments
A rare set of Jamacoaque copper nose ornaments. These items are unique and seldom exhibited. They are made of solid copper and are very heavy. They have an excellent green patina on all three. The largest shows evidence of original gold plating. Manabi region, Ecuador. 500 BC – 500AD. Condition is Choice.
The sizes are 25mm wide, 22mm tall, 20mm thick, 68.8g; 22mm wide, 21mm tall, 15mm thick, 33.5g; and 18mm wide, 15mm tall, 8mm thick, 10g.
The Jamacoaque civilization mastered the art of metallurgy and had a thorough knowledge of alloy production, notably a well-developed alloy of copper and arsenic. They were also well-versed in the process of gold plating.
The method employed for casting metal was placing it in a ceramic crucible and heating it using wood charcoal as fuel. Air was blown into the kiln with a bamboo tube until the temperature reached 1100ºC, sufficient to melt gold or copper.
They come beautifully mounted on a modern table display. 5″ in height.
Price – $850