This Mezcala stone carving showcases a strikingly abstract human face meticulously shaped from smooth gray stone (M-15). The oval form features deeply carved facial elements, including angular brows, a wide, prominent nose, and a subtly indicated mouth. The minimalistic design reflects the Mezcala culture’s emphasis on capturing the essence of human features rather than detailed realism, lending the piece a timeless and iconic aesthetic.
A particularly notable feature is the rare “V” cut at the top of the head, a highly desirable element among collectors and connoisseurs of Mezcala artifacts. This unique indentation is thought to hold spiritual or ceremonial significance, possibly symbolizing a connection to the divine or serving as a ritualistic focal point. Including this feature enhances the artifact’s cultural importance and distinguishes it as an exceptional example of Mezcala craftsmanship.
The artifact’s surface displays a weathered patina that testifies to its antiquity while preserving the clarity of its carved features. Though its original purpose remains uncertain—whether as a ritual mask, an ornamental piece, or a representation of an ancestor—it is widely believed that such objects were integral to ceremonial practices, often serving as offerings or spiritual symbols.
This rare Mezcala stone carved face ornament is a standout piece, offering collectors a unique opportunity to own a fragment of ancient Mesoamerican history. Its refined simplicity, coupled with the mystique of the “V” cut, makes it a significant addition to any refined collection. Measures 4.75″ H; 5.5″ H. on a custom metal stand.
Condition: Choice, with a well-preserved patina that attests to its authenticity and age.
Provenance: Ex – T. Tomaszek, Blackstone, MA. Acquired 1970’s
Price: $5,850 – Domestic Delivery Included
This item may become featured here in the Native American Art Magazine
Click here to see our next item.
Are you seeking a particular piece? Please feel free to let us know.
Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Inca Tumi, Peru, ca. 1400-1500 AD – Copper Knife, Llama
This Inca copper tumi ceremonial knife from Peru dates back to the Late Horizon period, ca. 1400 – 1500 AD, a peak era for the Inca Empire’s artistic and ritual advancements. Expertly crafted, this pre-Columbian artifact stands 8.75 inches (22.2 cm) tall with a striking 6-inch (15.2 cm) wide blade, highlighting the skilled metalwork of ancient Andean artisans. Topped with a finely detailed llama head, the Inca tumi holds cultural significance, as llamas were essential to the Inca Empire for transport, wool, and ritual. The animal’s expressive face embodies the Inca’s symbolic reverence for llamas. The copper has a rich, natural brown patina.
Adding to its uniqueness, this tumi includes an inlaid band of alloy placed three-quarters up the shaft, just below the llama’s head. This rare and unexplained feature is considered to be an Inca innovation (Bray 1990, p. 310) that showcases an advanced and lesser-known Inca metalworking technique that adds both mystery and significance to the artifact.
Traditionally reserved for sacrificial and essential ceremonies, the tumi symbolizes Inca beliefs and advanced metallurgy. This particular tumi’s llama finial reflects the cultural heritage of the Inca, who viewed llamas as sacred symbols of prosperity and fertility within Andean cosmology. The Inca’s reverence for the llama, alongside their skill in metalworking, is captured in the animal’s expressive face.
The tumi’s semi-circular blade is thought to echo the shape of the sun, potentially linking the knife to Inti, the Inca Sun God, a revered figure symbolizing divine energy. This shape would have imbued the knife with additional symbolic power in Inca rituals.
The Inca Empire demonstrated highly advanced metallurgical skills, especially in copperwork, during this period. This artifact exemplifies the sophisticated techniques of ancient Andean metalworkers, including smelting, hammering, and detailed finishing. Such craftsmanship reflects the elevated status of metalworkers in Inca society and the ceremonial importance of items like the tumi.
Condition: Choice, with a well-preserved patina that attests to its authenticity and age.
Provenance: Ex-Private Florida collection; previously held by S. Handbury-Madin in the UK.
Price: $2,850 – Domestic Delivery Included
This item may become featured here in the Native American Art Magazine
Click here to see our next item.
Are you seeking a particular piece? Please feel free to let us know.
Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
An Exquisite Taino Bone Purging Stick
The Taino purging stick, also known as the spatula, vomitivo, or vomit stick, was a significant tool in spiritual cleansing rituals. Carved from materials like bone, wood, or shell, it was used to induce vomiting, symbolizing the expulsion of impurities before sacred ceremonies, particularly the ritual. This ritual involved inhaling a hallucinogenic substance to communicate with the gods or zemi and was led by the cacique (chief) and spiritual leaders called behiques.
The behiques would use the purging stick for physical and spiritual purification, preparing themselves for divine guidance that would benefit their community. The stick, often elaborately decorated with carvings of zemi figures, further emphasizes its spiritual importance. Found in archaeological sites, these purging sticks offer profound insight into the Taino’s deeply rooted belief in the necessity of purification before communion with the divine.
The purging stick, a crucial part of Taino religious life, represents the balance between the physical and spiritual worlds. It played an essential role in preparing leaders as intermediaries between the people and the gods, symbolizing power and spirituality in Taino culture.
This superb vomit stick is attenuated and tapering at the tip. Possibly made from Manatee bone. Boldly carved with the highly stylized crocodile with almond-shaped eyes. Incised symbolic motifs along the carved spatula. Measures 12.5 in Length (31.75 cm.) Extraordinary size. Dominican Republic 1000-1500 AD.
Provenance: Private Georgia Collection. Acquired by way of inheritance in the 1970s
Price: $5800. – Domestic Delivery Included
This item may become featured here in the Native American Art Magazine
Click here to see our next item.
Are you seeking a particular piece? Please feel free to let us know.
Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Olmec Pottery Head Fragment
A nicely executed clay head from an Olmec figure. Molded in white pinkish clay. This piece demonstrates hallmark Olmec characteristic, which includes a flattened elongated head, downturned slit eyes, and mouth. The nose is upturned. Both nose and mouth have some loss. He wears an earplug.
Condition. The fragment has some minor loss. Some small amounts of old mounting adhesives are visible on the back. A hole on the bottom of the head was created for mounting. It is not permanently affixed to the stand.
Mexico ca. 1000 – 500 B.C.
Measures 3″ in Height. 6.5″ on included wooden stand.
Provenance: Private Georgia Collection. Acquired by way of inheritance in the 1970s
Price: $295 – Domestic Delivery Included
This item may become featured here in the Native American Art Magazine
Click here to see our next item.
Are you seeking a particular piece? Please feel free to let us know.
Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Maya Stone Mask of Young Pakal the Great
This Maya stone mask presents an intriguing portrayal of a male figure, likely depicting Kʼinich Janaabʼ Pakal, the renowned Mayan ruler, also known as Pakal the Great. The finely sculpted face features stylized characteristics typical of Maya artistry, suggesting this mask represents a noble or deity, possibly Pakal, in his youth. The highly detailed facial features, including deeply carved, almond-shaped eyes, a broad, prominent nose, and a solemnly parted mouth, reflect the craftsmanship associated with elite Maya figures. The distinctive bob-like hairstyle, with its unique middle part and straight vertical lines, further indicates the mask’s cultural and ceremonial significance. It is carved from fine-grained limestone and bears manganese dendrites, which attest to the stone’s age and reinforce its connection to the time of Pakal. These dendrites, formed over centuries, add to the historical value of this remarkable piece, linking it directly to the Classic Period of Maya civilization, which spanned from 250 AD to 900 AD, with Pakal ruling from 615 AD to 683 AD.
Measuring 7.75 inches tall, 3.37 inches wide, and 2.5 inches in depth, the mask is slender and features a hole at the top designed for suspension, suggesting it could have been used as an elaborate pendant. The back of the mask is concave, adding to its functionality and wearability. Unique in its depiction, this mask stands out, as no known publicized masks portray a younger Pakal, making it an exceptional and rare find. With its commanding presence and intricate details, this mask offers a captivating glimpse into the artistic and cultural expressions of the Maya, particularly during Pakal’s era.
Provenance: Private Georgia Collection. Acquired by way of inheritance in the 1970s
Price: $18,500 – Domestic Delivery Included
This item may become featured here in the Native American Art Magazine
Click here to see our next item.
Are you seeking a particular piece? Please feel free to let us know.
Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Amazing Olmec Jade Were-Jaguar Pendant
A remarkable were-jaguar artifact from the Olmec civilization is a Nephrite dark green jade pendant from the Middle Pre-classic Period, dating between 900-600 BCE. This pendant is a robust 3-3/4 inches tall and represents the were-jaguar motif, a central figure in Olmec art. The pendant features a stylized were-jaguar head with a knobbed brow, symbolizing power and ferocity. Its deep-set eyes, accentuated by drilled holes at the edges, convey an otherworldly presence, while the prominent nose and downturned mouth, both with drilled edges, emphasize the hybrid nature of this mythical figure. Elongated ears, pierced with holes, and additional openings atop the pendant suggest its use in ceremonial contexts, likely worn by Olmec elites to signify their spiritual authority and connection to the divine.
The Olmec civilization, often regarded as the “mother culture” of Mesoamerica, thrived along Mexico’s Gulf Coast between 1500 and 600 BCE. Renowned for their sophisticated artistry, monumental architecture, and deeply rooted religious practices, the Olmecs laid the foundation for later cultures such as the Maya and Aztecs. The were-jaguar motif, depicted in this pendant, represents the duality of human and animal, life and death, and the intersection of the natural and supernatural worlds. The jaguar, a revered predator in the Mesoamerican rainforest, symbolized strength, power, and mysticism, making it an ideal emblem for leaders and shamans.
Jade, especially the rare and durable Nephrite variety, was the material of choice for these pendants due to its vibrant green hue, associated with life, fertility, and renewal. The laborious process of obtaining and crafting jade, combined with the pendant’s intricate design, underscores its importance within Olmec society. Such pendants were likely worn by rulers or shamans as protective amulets, believed to harness the spiritual power of the were-jaguar to aid in rituals, warfare, or communication with the divine.
In death, the Olmecs often placed these pendants in tombs to safeguard and guide the deceased through the afterlife. Their presence in burial sites highlights their role as powerful symbols of identity, lineage, and spiritual connection.
Jade were-jaguar face pendants offer profound insights into the Olmecs’ complex cosmology and social hierarchy. These artifacts reveal the civilization’s deep reverence for the natural world, belief in the jaguar’s transformative power, and intricate systems of spiritual and political authority that shaped one of Mesoamerica’s earliest and most influential cultures.
Provenance: Private Canadian Collection acquired by way of inheritance.
Price $9,800. – Domestic Delivery Included
Note: A similar Olmec Mask Fragment was sold by Sotheby’s New York for $675,000 during their “The Shape Of Beauty: Sculpture From The Collection Of Howard And Saretta Barnet” auction on May 14th, 2018 (n09855, lot 12).
This item may become featured here in the Native American Art Magazine
Click here to see our next item.
Are you seeking a particular piece? Please feel free to let us know.
Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Moche Miniature Copper Skeleton Couple
A miniature pair of rare Moche copper skeleton figurines. These delicate hollow copper artworks reflect the sophistication of Moche metallurgy. Each skeletal figure showcases openwork in the chest detailing their ribs, with one figure standing while the other is in a sitting position, masturbating. The depiction of skeletons and skeletons masturbating is rich with potential meanings, ranging from spiritual and ritualistic to social and humorous. These images reflect the complexity and depth of Moche beliefs about life, death, and the human condition, offering a fascinating glimpse into their world. Understanding these themes requires a nuanced approach, considering the broader cultural, religious, and societal contexts in which these artworks were created. The rare Moche copper skeleton figurines are a tangible testament to this intricate cultural heritage, capturing the essence of Moche artistry and ideology.
The Moche culture, flourishing on Peru’s northern coast from approximately 100 to 800 CE, is renowned for its intricate and often provocative ceramic art. Among the many themes in their pottery, images of skeletons and scenes of skeletons masturbating hold particular significance, revealing deep insights into Moche beliefs and practices.
Skeletons in Moche art primarily symbolize death and the transition to the afterlife. This reflects the Moche’s profound interest in mortality and what lies beyond death. Many of these art forms have been discovered in tombs, suggesting their role in burial rites and beliefs about the afterlife. They may have been intended to protect the deceased or guide them through their journey in the afterlife. The Moche also revered their ancestors, and skeleton imagery might reflect this practice, illustrating the continued presence and influence of ancestors in the lives of the living. Additionally, these images could be linked to shamanistic rituals, where shamans invoke spirits and communicate with the dead, highlighting the shaman’s role as a mediator between worlds.
The depiction of skeletons masturbating in Moche art adds another layer of complexity. The Moche were not shy about illustrating sexual acts, and masturbation scenes, even involving skeletons, highlight their open and unembarrassed approach to sexuality. While the act of masturbation might seem to counter fertility, it could also symbolize life force and masculinity. This becomes particularly poignant when juxtaposed with the image of death, creating a narrative about the cycle of life, death, and rebirth.
These scenes might also represent ritual acts to ensure fertility and agricultural abundance. The juxtaposition of life, through sexual acts, and death, through skeletons, could symbolize the regenerative powers necessary for a successful harvest. Additionally, they could be part of broader mythological stories, conveying lessons or beliefs about the afterlife, the gods, or the natural world, illustrating myths where death and sexuality intersect meaningfully.
Measuring: The standing figurines is 2.5″ in height. 3.25″ overall height on custom stand.
Moche, Trujillo in the Moche River valley, Peru. c. 100 – 700 AD.
Condition: Oxidized copper with some rib loss in the back; otherwise, it is in excellent condition. The natural patina is consistent with age.
Provenance: Private Florida collection; Ex C. Ronzio collection, Eugene, OR – by way of inheritance. Acquired in the 1960s
Price: $6,850 – Domestic Delivery Included
This unique and exceptionally rare artifact from the Moche culture of ancient Peru is a stand-alone hollow copper phallus measuring 2.5 inches in length. It features a remarkable human element: the shaft’s underside represents the human body that incorporates arms and a flute. At the same time, the phallic top depicts a man’s head with detailed facial features. Overall, the imagery within the phallus is of a musician blowing on a flute. This intricate detail adds a layer of complexity and artistry to the piece. Additionally, the piece includes large testicles, enhancing its symbolic significance. This artifact is a fine example of Moche craftsmanship and symbolic artistry.
The Moche civilization is renowned for its rich artistic heritage, particularly in ceramics and metallurgy. This artifact is a testament to their advanced metalworking skills and complex views on sexuality and fertility.
Erect Phallic imagery was crucial in Moche’s art and symbolism, carrying deep cultural and religious significance. Integrating a human flutist element within the phallus conveys multiple layers of meaning. The flute is often associated with fertility and agricultural rituals, suggesting its use in ceremonies intended to invoke prosperity and divine favor. The depiction underscores the Moche’s sophisticated understanding of the interconnectedness of music, fertility, and spiritual well-being. Music, an integral part of Moche ceremonies, was believed to enhance ritual potency and communicate with the divine. The stature of an erect penis and large testicles further emphasize fertility and potency, making this artifact a powerful symbol within Moche cultural and religious practices.
The Moche achieved the creation of hollowed copper figures through several advanced metallurgical techniques. They often employed methods such as hammering and annealing, repoussé, and chasing to produce intricate designs with hollow forms.
Artisans would start by hammering copper into thin sheets. These sheets were then annealed, heating the metal to make it more malleable and easier to work with. They could shape the metal into hollow forms by hammering the copper sheets over molds or cores made from clay or stone. Once the desired shape was achieved, the molds or cores could be removed, leaving behind a hollow metal figure.
Repoussé and chasing were also essential in creating detailed hollowed figures. Repoussé hammered the metal from the reverse side to create raised designs while chasing refined designs from the front. This combination allowed for high levels of detail to be achieved on the hollow figures.
To construct more complex figures, the Moche used soldering and riveting to join separately made parts. For example, different sections of a figure, such as limbs or decorative elements like the facial features, could be created individually and then assembled. This method enabled the creation of elaborate and multi-part designs that retained their hollow nature.
Through these sophisticated methods, the Moche produced highly detailed and intricate hollowed copper figures like this phallus, showcasing their advanced metallurgical skills and artistic creativity.
Moche, Trujillo in the Moche River valley, Peru. c. 100 – 700 AD.
Condition: Excellent, with a natural patina consistent with age.
Provenance: Private Florida collection; Ex C. Ronzio collection, Eugene, OR – by way of inheritance. Acquired in the 1960s
Price: $5,850 – Domestic Delivery Included
This is a handsome Chorrera manioc whistling vessel that stands on three tear-shaped legs. They may be manioc tubers, or perhaps sweet potatoes, with a bridge handle on top in the form of an extended monkey. Traditional Chorrera geometric markings decorate the vessel’s legs. The cream-colored terracotta item whistles through the spout. It has been reassembled from large sections with restorations over the break lines. It’s a beautiful stand-alone piece.
Chorrera, Ecuador. 1000-500BC. Over 7″ in height.
Provenance: Ex-Fernandez Leventhal Gallery, NY
Price: $895 – Domestic Delivery Included
These are enigmatic stone artifacts from La Plata Island, Ecuador -Bahia Phase. They are perforated rectangular blocks and feature a multitude of engraved center rings and dot ornamentation throughout the stone’s surface. Each stone has a particular set of quantity and sized circles shared equally on all four sides. The perforations are started from the ends and meet in the middle, tapering from the center towards the corners. As for suspension, no evidence is seen of use on the edges of the holes. Their use is still unknown. However, several hypotheses are that they could have been used for navigation aids, games, or possibly as spindles. These stone finds have been restricted to a ceremonial center in Ecuador’s Isla de la Plata site. They are volcanic tuff and grayish-white in color. Bahia Phase ca. 300 B.C. – 500 A.D. The largest measures 2.5”/6.35 cm in length. These are ultra-rare specimens. Choice.
Similar examples are shown in very limited published works: “Archaeological Investigations on the Island of La Plata, Ecuador” by George A. Dorsey and “Ecuador” by Betty J. Meggers, pg.88.
Provenance: Ex – Mann collection. Acquired 1970’s
Price – $3,800 – Domestic Delivery Included