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

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

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.

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