A 5-volume set spans the centuries from the earliest civilizations of the Olmec, Maya, and Chavin to the present day. The region is broadly defined to include South America, Central America, Mexico, the Caribbean Sea, and the historical Spanish borderlands north of the Rio Grande that are now part of the United States. The set emphasizes political, economic, and social history yet recognizes those elements of material and popular culture that have affected the history of Latin America.
Price $145.
Andean Communication Inca Quipu
The Inca Quipu, which Andean communities used as a communication system from the 14th to the 16th centuries, holds immense historical significance. Its complexity is evident in the attention to detail given to the cords’ composition, ply, length, end treatment, and color – all of which were integral in conveying subtle meanings.
Crafted predominantly from cotton, this enigmatic artifact features a primary cord with a 32″/81.28 cm length and 65 pendant cords alternating in segmented tan and brown colors, contributing to its visual complexity. Each pendant cord, with varying sizes, serves as a canvas for strategically positioned knots that effectively encode numeric values.
Decoding this ancient system reveals that the Inca Quipu was not just a tool for communication but also a testament to the advanced organizational capabilities of the Inca Empire. Exploring the intricacies of this artifact unveils a rich tapestry of information storage and transmission, shedding light on the socio-economic dynamics of a long-gone era. Embark on a journey of discovery as we unravel the mysteries encoded within the Inca Quipu, unlocking valuable insights into the cultural and intellectual achievements of the ancient Andean civilization.
Today, museums, universities, and private collections hold approximately 600 Quipus. This private American collection, previously a part of the Alex del Canho collection in Israel, contains this particular Quipu. Later, the Howard S. Rose Gallery in NYC acquired it.
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Olmec Were-Jaguar Jade Mask
Olmec Were-Jaguar Mask. Uncover the awe-inspiring craftsmanship of this Pre-Columbian Olmec were-jaguar transformation mask, originating from Mexico to Guatemala and dating back to around 900 to 600 BCE. This Olmec stone mask is meticulously carved from dark green omphacite jade, this expressive masterpiece features a square jaw, feline eyes, and a trapezoidal mouth with a flared upper lip, creating a strikingly realistic feline face. The absence of a typical headband allows for a more dramatic expression, surpassing even the most theatrical Olmec visages known. Delve into the details, from bean-shaped eyes with drilled pupils to prominent nasolabial folds emphasizing curved fangs.
This exceptional full maskette, measuring 4.1″ W x 5.3″ H, showcases additional features like lengthy ear flaps and an impressed striation on the top of the head. Explore the significance of the green color and jaguar symbolism, reflecting growth, renewal, and power in the pre-Columbian world. The Olmec would have considered this jade mask an exceedingly valuable and rare piece of ceremonial art.
Explore this mask’s remarkable attention to detail, highlighting expressive lips, a cleft palette in the jaguar mouth, a full nose with pierced nostrils, stylized elliptical-shaped eyes, and partially drilled circular motifs at the mouth corners. Unraveling the meanings of Olmec masks, scholars speculate on the symbolic significance of green – linked to vibrant growth, renewal, and cyclical rejuvenation after death. Delve into the pre-Columbian worldview, where jaguar imagery represented power and might – Warriors, rulers, hunters, and shamans all identified with this formidable creature, the largest and most powerful feline in the New World.
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.
The overall height mounted with this custom stand is 7.3″ H (18.5 cm).
Condition: Polished face with a partly smooth back. No fractures. Completely intact in choice condition.
Provenance: L. Smyth, Florida. Acquired 1970s – 80s.
Accompanied by a hardbound CIRAM Scientific Analysts report attesting to its authenticity and Ruffner Art Advisory Fair Market Value report. Copies available upon request.
Reference:
A similar example can be found in Dumbarton Oaks in Washington DC under accession number PC.B.020. Additionally, another example depicting a slightly earlier period in the transformational process can be found at The Metropolitan Museum of Art under accession number 1977.187.33
Sotheby’s New York sold another similar Olmec jade mask for $481,000 during their “African, Oceanic, And Pre-Columbian Art” auction on May 16th, 2008 (sale number N08444, lot 14).
Appears in the advert section in the July/August 2020 issue of the Apollo – International Art Magazine and Dec/Jan 2020 issue of the Native American Art Magazine. Native American Art Magazine
You may also preview this Olmec Mask via YouTube by clicking here: Olmec Were-Jaguar Mask
Price $178,000
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Stunning Mezcala M-8 Axe God
This is a stunning Mezcala anthropomorphic Axe God figure, Type M-8, carved out of gray Metadiorite stone. Its incised features and details are highlighted by grooving, making it a beautiful semi-abstract piece. The sediment deposits throughout the figure add to its charm and authenticity, as it was found as is. This piece hails from Guerrero, Mexico, and dates back to approximately 700 B.C. – 650 A.D. It measures H. 7.625”/19.37 cm and is a true testament to the ancient craftsmanship and artistic expression of the Mezcala culture.
Price $2,250
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Mochica Seated Bound Prisoner
An extraordinarily expressive wooden Moche III seated bound prisoner. He is uniquely made from a piece of the Aphandra (mastodon palm) tree into a human Calero (lime container). His facial features are exaggerated and remarkable. Almond-shaped eyes, made of shell with purple spondylus pupils. Large nose, ears, and pointed head. Curled copper-wired whiskers are also attached to his face, and nacre (mother of pearl) is applied around the neckline. Unclothed with hands bound by a rope behind his back. The head is removable, which exposes the attached copper spatula and hollowed-out lower body. The fearsome Moche captured their enemy and humiliated them by removing their clothing and parading them before sacrifice. Removal of his head could symbolize the tribute of taking a trophy head.
An outstanding piece of art history in wood is rarely seen in an exceptional state of preservation and subject matter.
Size: 4″/10.16cm Unmounted – 6.25″/15.87cm Mounted
Condition: Near Choice. Natural wood separation on the back. One pupil has been re-attached. Copper oxidation under the head where the spatula is attached.
Mochica III 200-300AD
Price $2,480
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Chancay Mummy Bundle Mask
An excellent, robust Chancay Mummy Bundle Mask. Made from the Alder tree with uniformly applied gritty red cinnabar. Red is the color of the east, the rising sun, and thus a sign of the resurrection to new life. Large, rounded-shaped head. Strong naturalistic facial features with diamond-shaped eyes. Measures 12″/30.48cm in height unmounted. Central coastal region, Peru 1200-1470 AD. Exceptional and large.
Condition: Excellent
Price $4,280
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Guanacaste Costa Rican Incensario
A wonderful Potosi Applique with crocodilian effigy. This ritual incense burner has a top cover finalized with a portrayal of an aggressive, spiny Caiman. Three rows of exaggerated pointed scutes crown his elongated head. Two double-ring banning appliqué surround the upper and matching lower section. White and red colors faintly appear near the eyes and legs. The lower bowl has vertical stripes in light yellow. Overall, the body is heavily textured. The figure to the bowl, back leg, and tail have been reattached. The restoration was applied over the brakes. Otherwise, it is in excellent condition. Measures 13.5″/34.3 cm in height.
Greater Nicoya region, Costa Rica, 500 – 1350 AD (Period V-VI)
Ex. Private Washington D.C. Estate, acquired before the 1980’s.
Price $3,480
Manteño Seated Figure Incensario
An attractive and sizeable ceramic incensario. A broad-shouldered naked male seated in a frontal pose on a stool with a stepped base. Facial features are incredibly bold and realistic. Wears traditional large disc earplugs. The shallow platter-type headdress is very large, measuring over 10”/25.4 cm in Diameter. Excellent motifs on the upper chest and back indicate the high rank of this individual. Highly burnished marbleized brown-black ceramic contributes to its beauty. Outstanding example.
Overall height is 16.5”/41.9 cm. Reassembled from four parts, with restoration over breaks. Manabi, Ecuador 700/1500 AD.
Ref. Pre-Columbian Art of South America, Alan Lapiner., Pg. 363 Plates 785, 757
Digging up prehistory “The Archaeology of Ecuador” Pg. 359
Price $4,480
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Published Manteño Parakeet Shell Mortar
An excellent Manteño shell mortar in the shape of a parakeet. This adorable miniature mortar was de-accessioned from the collection of the Mint Museum in Charlotte, NC (inventory 67.12.12). Published in the book “The Pre-Columbian Collection: Mint Museum of Art, Charlotte, North Carolina” by M. Keating Griffiss, 1970 (object no. 94). The ancient artisan produced this from a thick shell core to resemble one of their more sacred animals – The Parrot. The head is detailed, and the main body (the receptor) is a deep well between the wings, finalizing with a short tail and legs. Smaller prongs were used to stabilize the mortar. The author states, “A carved shell vessel of an animal with four legs carrying a load, the top of which is concave.” A copy of the book will be enclosed.
Minor surface wear and erosion with minor chipping and abrasions; otherwise, in excellent condition.
Measures 3.5″/8.89 cm in length by 2.25″/5.71 cm in height respectively.
Manta, Ecuador 700-1500 AD. – Ultra rare as mortars in shell rarely survive.
Provenance: Former Atlanta, GA private collection. Deaccessioned from the Mint Museum in Charlotte, NC, cited as a gift to the museum from Mr. & Mrs. Edwin L. Jones, 1967.
Price 1,240
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Inca Bronze Axe Blades with Owl Insignia
A set of two large and heavy Inca Bronze Axes with the sacred Owl “Tuco” insignia – Rare
Casted bronze with a half-moon-shaped blade. Center hole in the thick haft base. Sacred Andean owl decorated on a single side. Eyes wide with long ear tufts. A suitable symbol on a weapon blade reflects wisdom and protection to the holder while announcing death to its opponent. Sierra, Ecuador. Ca. 1400 -1550 A.D. Vintage Riker display case.
Measures: 6”- 6.5” W, 5.75” H. 15.24-16.51 cm. W, 14.60 cm H. Each weighs approximately 3 lbs. each. Combined weight 90 oz—2.5 kg.
Private FL collection; Ex Holmes, GA.
Price 1,095
Ref: Cobre Del Antiguo Peru, plate 161 and p. 531
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases