A rare example of a very early Guangala figurine from Ecuador, circa 500 BC – 100 AD. This piece depicts a female with incised patterns indicative of jewelry, clothing, and possible tattooing/ritual scarification.
These figures resemble earlier Valdivian (Venus) figurines and are mostly misrepresented as from the Machalilla Phase. The incising across this figure’s neck is thought to represent a necklace. As such, Guangala figures such as this example are among the earliest figurines in the New World to depict individuals wearing jewelry.
Measures 2”/5.08 cm.
Completely intact and in Choice condition.
Provenance: P. Goodman collection, Houston, Tx.
Reference: Little People of the Earth, page 24, for comparable examples and further scholarly information.
A scarce and early Guangala figure from ancient Ecuador that displays well.
Price $550 – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Chancay Jaguar Textile Ornaments
A sizable pair of Textile Ornaments with painted Jaguars from the Chancay culture, Peru. Ca. 900 – 1400 AD.
Colorful woven camelid and cotton textiles produce this unique pair of ornaments. The lower central roundel is painted with the upper torso of the Jaguar with fringes on the perimeter and possibly used as ear accessories. These are scarce items.
Minor textile loss otherwise in Fine condition. Measures approx. 11″ H, 4″ Dia.;
Displays beautifully on an all-metal custom stand 12.5″ H.
Price $1,295 – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Valdivian – Machalilla “Venus” Figurine
A solid Venus figurine from the Machalilla culture, Ecuador. Supersedes in form, the modeled figurines of terminal Valdivian “Venus” types: coffee bean eyes and salient nose. Light red pigment stripes on the face and legs are a possible indication of tattooing. A peculiarity among Machalilla figurines are rows of perforations along the head’s edge or the ears’ edges – probably used to suspend hair, feathers, or other material as adornments. Measures 2.75”/6,98 cm in height. La Ponga, Ecuador. 1100-1500 BC. It is a very scarce item. Completely intact and in Choice condition.
Provenance: Private Florida collection.
Reference: Karl Dieter Gartelmann, Digging up prehistory – The Archaeology of Ecuador. Pg. 54
Price $1,200 – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Chimú Wooden Ceremonial Figure
Highlighting the importance of marine resources in their diet, the Chimú culture of Peru depicted fish in their pottery and textiles. Due to their coastal location, the Chimú culture likely relied heavily on fish as a dietary staple. The consumption of fish provided a vital source of protein and essential nutrients for the Chimú people. Fish may have been prepared through various methods such as grilling, smoking, or drying to ensure preservation and availability throughout the year. Fish imagery often symbolized abundance, sustenance, and the interconnectedness of their coastal lifestyle with the sea. The representation of fish in Chimú art suggests a cultural emphasis on maritime activities and the importance of seafood in their culinary practices.
The Chimú people primarily sourced wood from local trees to create intricate art objects. They used wooden materials, such as Algarrobo and huapango, for carving and crafting. These materials were abundant in the coastal regions where the Chimú culture thrived. The use of wood in their art allowed for the creation of diverse items, including ceremonial objects, masks, and valuable items, showcasing their skill in woodworking and integrating natural resources into their artistic expressions.
The arid climate of this region has provided extraordinary conditions for preserving these archaeological materials.
This sizable and intricate sculpture depicts a Chiefton in ceremonial practice.
It is an impressive standalone wood carving. He wears a tethered headdress. Facial features are exaggerated. Eyes are wide as if in a hallucinogenic state. Measures 15.5″/39.37 cm in height on stand. 13.6.25″/23.60 cm without. Natural separation at base otherwise in excellent condition. Rich patina. West Coast, Peru. Ca. 1100 – 1450 A.D.
Price $2,850 – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Chancay Loincloth Fragment
Loincloth fragment. Cotton and wool (camelid), bands of plain weave, slit tapestry weave with wrapping outlining waves and edged with plain weave extended weft loop fringe—lovely earth tone colors of brown, dark beige, and blue with good color preservation.
Chancay culture, Peru. Ca. 900 – 1400 AD.
Panel measures 19″ H, 15″ W
Beautifully displayed in a modern, elegant, designed floating plexiglass. 23” H, 19” W. Hardware included.
Ref: MFA Boston. Accession Number: 10.264
Price $4,895 – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Sizable Mixtec Stone Figure
The Mixtec culture thrived in the Oaxaca region of southern Mexico from around 900 CE to the Spanish conquest in the 16th century. Known for their intricate artwork, including stone figures, the Mixtecs excelled in metalwork, pottery, and codex painting. They developed a hieroglyphic writing system preserved in codices containing historical and genealogical information.
Mixtec society had distinct social classes based on lineage and noble status, including rulers, priests, and commoners. Their religious practices involved elaborate ceremonies dedicated to a complex pantheon of deities associated with natural elements and celestial bodies.
Significant urban centers like Monte Albán and Mitla showcased impressive architecture, including pyramids, palaces, and ball courts. Agriculture played a vital role, with terrace farming cultivating crops like maize, beans, and squash.
Engaging in extensive trade networks, the Mixtecs exchanged goods with neighboring cultures like the Zapotecs and Aztecs. Despite facing challenges, including conflicts with neighboring civilizations and Spanish colonization, Mixtec cultural influences persist in the indigenous communities of the Oaxaca region today.
This sculpture is a sizable seated ancestral Mixtec figure. The sandstone is grey-pink. He is in a squatting position with his hands propped to his knees. Facial features are aggressively robust. Wide eyes with teeth bared as if he were in a hallucinated state. He sports a short bob hairstyle and a squarish adornment. Also, he wears a loincloth and straight ears-flares. Measures 8.5″/21.59 cm; 10.5″/26.67 cm on included armless type wood base. Some repair to hands and feet. Earthen deposits throughout. Oaxaca region, Mexico. Ca. 700 – 1500 A.D.
Provenance: P. Goodman collection, Houston, Tx., acquired in the 1970s
Price $2,850 – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Guanacaste-Nicoya Abstract Axe God
The axe gods are believed to have had ceremonial and symbolic significance, possibly representing deities or ancestral spirits. They were crafted with great skill, showcasing the artistic and technical prowess of the ancient cultures in the region. The use of jade underscores its cultural importance, as jade was highly valued for its rarity and perceived spiritual properties.
Carvings on Guanacaste-Nicoya Jade axe gods are culturally and symbolically significant, portraying mythological, spiritual, or ceremonial themes. These intricate carvings played a role in religious rituals, serving as conduits between the physical and spiritual realms. The artifacts, crafted with precious materials like jadeite jade, denoted high social status and participation in important ceremonies. Nature-inspired elements in the carvings highlight the cultural connection to the environment, while the use of jade adds ritualistic importance associated with fertility and renewal. These carvings offer insights into the cultural identity and artistic expression of the ancient Mesoamerican societies in the Guanacaste-Nicoya region.
Gorgeous Costa Rican Anthropomorphic Axe God Pendant. It is carved in low relief with a highly glass-like polish front. The rear surface is flat and party smooth. Minimal linear incising creates this outstanding abstract piece. The bottom edge is sharp without any chipping. Two drilled holes on each side, which this object could be suspended and worn. Dark green to Black jade. H. 6” tall. Mineral deposits throughout in microscopic crevices. Choice condition. Guanacaste-Nicoya region, Costa Rica. Ca. 500 B.C. – 500 A.D.
Outstanding piece!
Price $2,480 – Domestic Delivery Included
Casas Grande Paquimé Cougar Decorated Jar
This remarkable Casas Grande vessel is a Ramos Polychrome jar from Chihuahua, Mexico, dating back to the Paquimé phase (1205-1261 AD) within the Medio period (1060-1340).
This pottery exhibits an unslipped surface, complemented by a burnished bottom. The exterior features a three-panel layout adorned with intricate iconography across the quadrants. Notable design elements encompass various black color elaborate layouts in single, two-line, and four-line patterns; steps in solid red and black; scroll lines; barbed lines; a dotted checkerboard; a Macaw; a unique Puma/Cougar head; and above all, a possible sun deity with curved rays!
This is a genuine prehistoric piece with unique iconography.
Besides the minor rim chip, this vessel is intact and in near-choice condition.
Dimensions: 5.75”/14.60 cm in diameter, 4.5”/11.43 cm in height.
Provenance: Ex Carraher collection, Knoxville, TN. Acquired in the 1970s
Price $2,280 – Domestic Delivery Included
Guanacaste-Nicoya Jade Axe God
The axe gods are believed to have had ceremonial and symbolic significance, possibly representing deities or ancestral spirits. They were crafted with great skill, showcasing the artistic and technical prowess of the ancient cultures in the region. The use of jade underscores its cultural importance, as jade was highly valued for its rarity and perceived spiritual properties.
Carvings on Guanacaste-Nicoya Jade axe gods are culturally and symbolically significant, portraying mythological, spiritual, or ceremonial themes. These intricate carvings played a role in religious rituals, serving as conduits between the physical and spiritual realms. The artifacts, crafted with precious materials like jadeite jade, denoted high social status and participation in important ceremonies. Nature-inspired elements in the carvings highlight the cultural connection to the environment, while the use of jade adds ritualistic importance associated with fertility and renewal. These carvings offer insights into the cultural identity and artistic expression of the ancient Mesoamerican societies in the Guanacaste-Nicoya region.
This Olmecoid-type jade celt features exquisite low-relief carving with fine curvilinear incising, presenting a highly polished surface. It includes drilled pits for eyes and smaller pits at the corners of the mouth with an abbreviated square tongue. The nose exhibits a triangular shape with incised scrolled nose ornaments, and the short trapezoidal hat is adorned with two bands of incised braid and triangular patterns. The hands are positioned facing down near the waist. The rear is undecorated. It displays a flat sawed surface, partially smoothed with a broken septum. Additionally, there are two drilled holes on each side of the head, allowing for suspension and wear of this object. Dark green Jadeite.
H. 4.875”/12.38 cm. Choice to near choice condition. Guanacaste-Nicoya region, Costa Rica. Ca. 500 B.C. – 500 A.D.
Provenance: Private Falls Church, VA collection
Price $6,800 – Domestic Delivery Included
Condorhuasi-Alamito Stone Mask
The Condorhuasi culture, flourishing in pre-Columbian Argentina during the Late Archaic period (circa 400 BC to 500 AD), was centered in the Calchaquí Valleys, spanning provinces like Salta, Tucumán, and Catamarca. Characterized by distinctive circular structures and semi-subterranean buildings with central support posts, Condorhuasi sites showcase advanced architectural features. Their ceramics, adorned with geometric designs and stone sculptures, provide valuable insights into their craftsmanship. Engaging in agriculture at high altitudes, the Condorhuasi people cultivated maize, beans, and squash. Burial practices included collective sites with accompanying grave goods, shedding light on their cultural rituals. Participating in regional trade networks, evidence suggests connections with neighboring pre-Columbian cultures in the Andean region. The Condorhuasi culture is recognized as a significant precursor, contributing to the cultural evolution of the Calchaquí Valleys.
These stone masks, created by the Condorhuasi-Alamito people, hold significant historical and cultural value. They are very distinctive and have an eccentric look. A skilled artisan carved this heavy volcanic stone into this life-sized mystical mask. The surface is phenomenally smooth, showcasing remarkable attention to their pronounced brow ridge and nose. They have drilled perforations for their eyes and mouth with slightly raised ridges. All these features manifest in an artistic facial expression.
The back of the mask is somewhat concave. Small drilled holes on the outer upper perimeter are also evident, presumably to attach decorative artifacts like colorful feathers, fibers, metal adornments, or perhaps a funerary bundle.
Provenance: B. Morales collection, Florida
Price $6,800 – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases