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.
Price $12,800 – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Olmec Were-Jaguar Mask – A Masterpiece of Pre-Columbian Art
Experience the unparalleled craftsmanship of this Olmec were-jaguar transformation mask, a remarkable piece of pre-Columbian art dating back to 900-600 BCE. This extraordinary artifact from ancient Mesoamerica (present-day Mexico and Guatemala) exemplifies the Olmec civilization’s artistry and cultural significance. The mask is carved from dark green omphacite jade, one of the most precious materials in the pre-Columbian world. It captures the fierce and mystical essence of the jaguar, featuring a square jaw, almond-shaped feline eyes, and a trapezoidal mouth with a flared upper lip for a lifelike expression.
This Olmec jade mask stands out due to its dramatic portrayal, lacking the typical headband seen in other examples. The detailed carving brings the mask to life, with bean-shaped eyes, drilled pupils, and pronounced nasolabial folds that accentuate the curved fangs of the were-jaguar. A particularly striking feature is the bifurcated and bifid tongue, deeply symbolic of transformation and the liminal space between human and jaguar. This rare detail underscores the supernatural essence of the mask, reinforcing its connection to shamanic rituals and spiritual power. The mask measures 4.1” wide by 5.3” high, with added features such as elongated ear flaps and a striation running across the top of the head, indicating the high level of craftsmanship involved.
This mask carries deep symbolism as a piece of pre-Columbian artifact. The green jade represents growth, renewal, and life cycles, while the jaguar imagery embodies power, dominance, and a connection to the spiritual world. For the Olmec, the jaguar was a revered figure, often associated with warriors, rulers, shamans, and hunters. Thus, this mask is not only a ceremonial item but also a symbol of societal status and ritual significance.
In the ancient Americas, materials like jade were valued above even gold, reflecting the cultural priorities of the Olmec, Maya, and other Mesoamerican civilizations. This exceptional mask is a testament to the skilled artisans who crafted luxurious goods for ceremonial use, reflecting pre-Columbian art’s deep cultural and spiritual values.
Mounted on a custom display stand, this Olmec were-jaguar mask reaches 7.3” (18.5 cm) in overall height, making it a striking centerpiece for any collection of ancient art.
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 are 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
Asking 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.
Provenance: B. Morales collection, Florida
Price $5,250 – Domestic Delivery Included
The Understanding of the Mezcala Stone Figure Grading System – Article
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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 with purple spondylus shell 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.
Provenance: Alex Acevedo Art Gallery NYC 1980’s.
Price $2,480 – Domestic Delivery Included
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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
Provenance: Ex Raul Moreno, Cayuco Gallery WA; Private Florida collection.
Price $4,280 – Domestic Delivery Included
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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 – Domestic Delivery Included
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
Provenance: Morales collection, Florida – acquired by way of inheritance
Price $5,850 – Domestic Delivery Included
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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: $1,250 – Domestic Delivery Included
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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 – Domestic Delivery Included
Ref: Cobre Del Antiguo Peru, plate 161 and p. 531
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Valdivian – Chorrera Stone Mortar
This feline is an exceptional and sturdy serpentine stone mortar made in the Transition Style. The tail of the mortar has a beautiful spiral perforation. Wonderful green coloring. It was found in the Valdivia region of Ecuador and dates back to around 2000 B.C. – 300 B.C. It measures 9.25 inches in length, 5.5 inches in height, and 3 inches in width and is in near-choice condition.
During the Late Formative period, there was a growing interest and desire for green stones. They were considered exotic in most areas and were often exchanged over long distances since they were widely used in domestic and mortuary contexts. The popularity of green stones also grew significantly around the same time in Mesoamerica.
Provenance: Collection of the Landazuri Family Estate, New York, NY., acquired in the 1980s.
Price $10,800 – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases