Fine Maya Flint Spearpoint, Ca. 500–800 A.D.

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Fine Maya Spearpoint

 

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.

 

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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases

Large Colima Gadrooned Tripod Vessel with Parrot Form Legs

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Colima Gadrooned Tripod Vessel

 

This impressive Colima gadrooned tripod vessel stands as a striking example of ancient West Mexican ceramic artistry. Measuring 10 inches in height and 15.25 inches in width, the vessel features a bulbous, gadrooned, squash form body, an organic motif deeply rooted in Colima’s agricultural and cosmological symbolism. It rests on three integral tripod legs, each sculpted in the form of a parrot with incised crossed wings and boldly rendered round eyes. The parrot, a recurrent figure in Mesoamerican iconography, is often associated with fertility, vitality, and communication between worlds.
The redware surface remains exceptionally well preserved, with rich slip tones and strong scattered mineral deposits indicative of prolonged interment and authenticity. A 2-inch original section has been professionally reattached at the lip rim, and two minor rim chips are present, both unobtrusive and stable. These restorations are well within the expectations for archaeological ceramics of this scale and age.
Dating from circa 200 BCE to 300 CE, this Colima tripod vessel is a commanding and culturally significant example of shaft tomb ceramic tradition, prized for both its sculptural ingenuity and symbolic resonance. The integration of avian figural legs into a utilitarian form elevates this piece from a functional object to a ritual artifact, embodying the sophistication and spiritual worldview of the ancient Colima people.
Provenance: Ex. Merrin Gallery, New York City. From a private New York collection, acquired in the 1970s.

 

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Rare Maya Olive Shell Skull Face Pendant

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Maya Olive Shell Skull

 

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

Object Number: 85.0077
Object Number: 85.0077

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

 

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Costa Rican Jade Avian Axe God Pendant

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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

 

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Aztec Carved Shell Ornament of Ehecatl

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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

 

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Veracruz Avian Stone Hacha – Volcanic Ritual Sculpture

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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.

 

 

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Inca Child’s Leather Sandals
Chimu Cast Bronze Figure Ornament

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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

The Met Object Number 64.228.709
The Met Object Number 64.228.709

Chimu, Peru. ca. 900-1470 AD

Measures: 4.25″

Provenance: Ex-B. Donaldson Collection, Portland, ME. Acquired in the 1960s.

 

 

 

 

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Chancay Textile Fragment – Pre-Columbian Peruvian Weaving

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Pre-columbian Chancay Textile

 

This Chancay textile fragment, measuring 14 by 7.5 inches, exemplifies the refined textile craftsmanship of the Chancay culture, which flourished on the central coast of Peru during the Late Intermediate Period (circa 1000-1470 AD). Woven from cotton, the fragment displays a carefully arranged composition of symbolic motifs and geometric patterns.
The top section features a classic Andean step pattern interwoven with stylized serpents, a recurring motif in Chancay iconography associated with transformation and duality. Below, the central portion is adorned with rows of feline figures with prominent eyes and curled tails, set between narrow bands of an interlocking, curvilinear fret. This fretwork, woven in the same colors as the main design, enhances the visual rhythm of the piece. Additional wave-like patterns flow across the textile, evoking the importance of water in Chancay culture.
The lower edge is finished with a heavy gold colored fringe. The fragment may have once been part of a larger ceremonial textile or decorative panel. Despite some minor fabric loss consistent with its age, the piece retains much of its intricate weaving and vibrant coloration. Professionally mounted with a heavy Oak frame under glass and black background, this rare textile is preserved for safe handling and display, offering an exceptional glimpse into the artistic and symbolic traditions of the ancient Chancay people.

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.

 

 

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Stone Age Tools from Ecuador’s Andean Highlands

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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.

Illustrated by Edward Whymper in Travels Amongst the Great Andes of the Equator (1892)
Illustrated by Edward Whymper in Travels Amongst the Great Andes of the Equator (1892)

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