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.
This is a beautiful Nazca Plume. Orange-colored parrot feathers braided with vegetable fiber. Completely intact, all original. When found in their original context, they were parts of headdresses or were placed on the head of the deceased. It is also possible that such ornaments were worn by priests and higher dignitaries and used in other ways or had other functions. Measures 10”/25.4 cm by 9”/22.86 cm. South coast, Nazca. Ca. 100 – 700 A.D.
Condition: Very Fine
Comes in a front loading table glass display case approx. 14”/35.56 cm square.
Jamacoaque Copper Nose Ornaments
A rare set of Jamacoaque copper nose ornaments. These items are unique and seldom exhibited. They are made of solid copper and are very heavy. They have an excellent green patina on all three. The largest shows evidence of original gold plating. Manabi region, Ecuador. 500 BC – 500AD. Condition is Choice.
The sizes are 25mm wide, 22mm tall, 20mm thick, 68.8g; 22mm wide, 21mm tall, 15mm thick, 33.5g; and 18mm wide, 15mm tall, 8mm thick, 10g.
The Jamacoaque civilization mastered the art of metallurgy and had a thorough knowledge of alloy production, notably a well-developed alloy of copper and arsenic. They were also well-versed in the process of gold plating.
The method employed for casting metal was placing it in a ceramic crucible and heating it using wood charcoal as fuel. Air was blown into the kiln with a bamboo tube until the temperature reached 1100ºC, sufficient to melt gold or copper.
They come beautifully mounted on a modern table display. 5″ in height.
Price – $850
An elegant and naturalistic Chone-style Jamacoaque figurine. This individual sits on his buttocks, knees bent in front. He holds a round poporo (lime pot) in one hand and a spatula or tusk-shaped object in the other. He wears a cloak over his chest and a long headdress. The graceful flaps behind the ears of the figure on this vessel may refer to bird-men. Meticulously applied appliquéd fringes over his apparel. He also wears earrings, a large nose ring, and a chin piece. Remnants of pale green pigment are still present. A minimal surface restoration was performed on the back, with several appliqués reattached to the front. There are excellent deposits throughout. This figural served as a tomb guardian amidst other offerings that would have accompanied the dead in burial. The mythical attributes of the costume are symbols in a communication system between humans and deities in life and death. Manabi region, Ecuador. 500 B.C. – 500 A.D. Measures 8.5” / 21.59 cm in height. This piece is an excellent example of the Jamacoaque creativity and quality.
Provenance: Ex-Fernandez Leventhal Gallery, NY 1980s
Price: 2,850.
A gorgeous large white Parrot from La Tolita culture, Ecuador. As with most clay pottery from this culture, the detail and realism are always striking. This bird sculpture is sitting on top of a domed base posed with its head turned, preening its feathers. Nice incised detail over head and body. Made using a volcanic grainy clay deposited during the 467 BC Palulahua eruption. Reassembled and restored. Esmeraldas region. 300 BC-100 AD. Measures an impressive 9″ in length.
Stand provided and ready for display.
Price – $850
A realistic larger example of a warrior or priest with fine details. Almond eyes, naturalistic nose, and cheeks with coca. Ornate ear spool remains. The Tumaco culture of Colombia developed in conjunction with the neighboring La Tolita culture in Ecuador, and the artifacts of both cultures are oftentimes so similar that distinctions are impossible. Both societies revolved around an economy based on fishing, maize growth, and gold, the latter of which was readily found in the rivers in pre-Columbian times. Much like Moche art, La Tolita / Tumaco artistry focused on representations of people in a realistic fashion, showing them in a wide variety of conditions and contexts. Esmeraldas region, Ecuador. Fragmentary Large piece.
Head measures 5.5″ H, 7.5″ on provided stand.
Price – $850
A lovely anthropomorphic jar from El Angel, Carchi Province of Ecuador. Its double-body form is simple yet captivating. Thin wall, buff, semi-burnished surface treatment. Delicate facial features with incised criss-cross patterns on cheeks. Nice dendrite deposits throughout the vessel. Very rare piece from the Northern Sierra region of the Andes. 800-1200 AD. Choice condition.
Measures 6″ 15.24cm.
Perfectly sized to display on a mantle or shelf.
Price – $645
This Moche copper tumi is finalized with a detailed couple in a symbolic erotic scene. One person is lying on top while the other rests on the bottom platform, facing each other. The lower crescent-shaped blade is flat and wide. Overall beautiful verdigris patination. Northwest, Peru 1 – 700 AD.
Measures 6.25″/16 cm. Custom stand will be made upon acquisition.
This piece is one of two being offered from a collection published in a large coffee table book called “Cobre del Antiguo Peru – The Copper of Ancient Peru”. Caption p. 520 “Moche. Ceremonial knife with cutting edge in the form of a half Moon and decorated on the upper part with a symbolic erotic scene showing one figure on top of another. Copper lost-wax technique. 16 X 10 cm.”
Private Collection acquired in ’70s.; Ex Villacreses Collection, Ca
Price $8,850
This item has been featured here in the Native American Art Magazine
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Paracas Copper Short Spear. This extraordinary bi-point artifact is uniquely shaped and bears iconographic importance. It is produced from native copper, and the blade boasts mythical beings. Six geometrically stylized double-headed falcons grace each side of the blade.
This piece must have held great symbolic value and was made for someone of high importance. Its luster would have been bright and shimmered while being held from its cloth-wrapped center. Today, trapped from its isolated arid environment, a gorgeous green and blue-colored verdigris patina has been created and encases the artifact.
The Double-Headed Falcon is a significant motif in the Paracas civilization and is frequently found in their textiles, ceramics, and other artifacts. This symbol offers a deep insight into the society’s values and beliefs.
In Paracas culture, the double-headed falcon is seen as a symbol of power and authority. Birds of prey, such as falcons, are associated with strength, vision, and control, qualities likely revered by the Paracas elite. This motif may also have held spiritual and cosmological significance, reflecting the Paracas people’s rich spiritual life. The dual heads could symbolize various dualities within their belief system, such as life and death, the earthly and the celestial, or the physical and spiritual realms.
The role of the double-headed falcon in funerary practices further underscores its importance. Paracas textiles, which frequently feature this motif, were commonly used to wrap mummies, suggesting that the falcon might have been seen as a protective figure, guiding and safeguarding the deceased in the afterlife.
Artistically, the double-headed falcon is prominently featured in Paracas textiles, renowned for their complexity and vibrant colors. These textiles demonstrate Paracas artisans’ high level of skill and the importance of this motif in their art. The falcon also appears on Paracas ceramics, which are used in both daily life and ceremonial contexts, indicating its widespread cultural significance. Its iconography, characterized by its symmetrical form and geometric patterns, is striking and distinctive.
The significance of the double-headed falcon was revealed through archaeological excavations, particularly those conducted by Peruvian archaeologist Julio C. Tello in the early 20th century. These excavations unearthed numerous textiles and artifacts adorned with this symbol, offering valuable insights into the Paracas civilization. While scholars have debated the exact meaning of the double-headed falcon, its recurrent appearance suggests it was a potent symbol. Some theories propose it represents shamanistic visions or experiences, while others see it as an emblem of political power.
Similar motifs are found in other ancient American cultures, indicating possible cultural exchanges or common symbolic themes. For instance, the double-headed bird motif is also present in the art of the Nazca, who succeeded the Paracas culture in the region.
In conclusion, the Paracas Double-Headed Falcon is a powerful and multifaceted symbol that played a crucial role in the Paracas civilization’s spiritual, artistic, and political life. Its presence in various art forms and its association with significant cultural practices highlight its importance and the sophisticated nature of Paracas society.
Note:
A non-invasive test using energy-dispersive X-ray fluorescence has been performed by Geotechnical Services, Inc., to analyze its composition accurately. Six locations were targeted to avoid cross-contamination. 99.849 Cu; 0.131 Fe; 0.018 Ni. The reading shown is from one spot, which yielded the highest trace elements. The conclusion is this is Native copper. Our research led us to believe this implement was sourced from the “Mina Perdida” Lost Mines in northern Peru. Native copper was used in the earliest pieces. Techniques were developed later to produce alloys through cultural evolution. From the manufacturing viewpoint, the artisan had superior skill and talent to create this desired shape and thickness. Cold hammering with some heat applied and not cast like commercialized “Tumis” (half-moon blades with handles) used in later cultures.
Also, QC Metallurgical, Inc. performed a semi-quantitative EDS analysis on the patina to determine its elemental composition. The surface material was copper chloride, naturally formed due to the arid climate and the close proximity to the ocean environment. Elemental composition: O K 19.15; AI K .58; Si K 1.07; Cl K 15.22; Fe K .70; Cu K 63.29.
All reports are available upon request.
This impressive blade stands out due to its unique shape, size, composition, and iconography.
Paracas/ Proto-Nazca culture, Peru c. 800 BC – 100 BC.
Length is 19.25”/48.89 cm.
Near choice condition.
Provenance: Ex-Oswalt collection, Scottsdale, AZ. Acquired 1970s
Price – $12,500.
A fine Inca hunchback urpus – aryballo. All black ceramic body. A complete human head over a wide-shouldered, hunchback individual. Sculpted low relief arms reaching out to the front on the upper chamber. Standard side strap handles mid-torso with a pointed bottom. He has a nicely defined face. A bob-style haircut and wears ears, nose, and neck jewelry. The vase opening also serves as his hat.
Measures 8.75″ /22.22 cm in height.
Condition: Rim-chip to the front area with no attempts to repair; otherwise, it is in Excellent Condition—earthen deposits throughout the surface.
Inca-Chimu, c. 1470 AD. Peru
Provenance: Ex J. Mathieu Estate, Hope, RI. Acquired 1970s
As with all ceramics from these periods, they met two functions: simple daily domestic use with less finishing or ceremonial vessels that showed higher aesthetic commitment.
Inca Portrait Head
Price – $1,480
Explore this exquisite Aztec stone figure of Toci. This finely sculpted votive piece captures Toci in an unusual standing position. The details of her intricate facial features are crisp and beautifully executed. Adorned with rosette-styled earplugs, surrounded by her long, simple, straight, parted coiffure. She also wears a traditional Aztec skirt garment and footwear. This ancient artifact shows the goddess tenderly embracing her life-giving abdomen and would have been placed on top of an altar. This stone offering is 5.5″ in height.
Condition is Choice.
Provenance: Ex – T. Tomaszek, Blackstone, MA. Acquired 1970’s
In the heart of the ancient Aztec civilization, the sun’s golden rays lit up the verdant landscapes, illuminating the revered deity known as Toci, the Grandmother Goddess. Her name, “Our Grandmother,” echoed through Aztec mythology, embodying profound reverence for her role as the protector and nurturer of all life.
The mists of time cloaked Toci’s origins, intertwining her existence with the very fabric of the Aztec cosmos. The Aztecs believed she emerged from the primordial waters, a fundamental force that gave birth to all creation. As the Grandmother Goddess, she presided over healing and childbirth, her gentle touch bringing solace to the sick and joy to expectant mothers.
In the Aztec pantheon, Toci held great importance. The Aztecs revered her as the patroness of midwives and healers, her wisdom and compassion guiding them in their sacred duties. Her image adorned temples and shrines throughout the Aztec empire, where people sought her blessings and protection.
Toci’s iconography symbolized her role richly. Artists often depicted her as an older woman with a mature face and long, flowing hair. She wore traditional Aztec garments and carried a staff or spindle, representing her connection to healing and childbirth.
In the Aztec belief system, Toci actively participated in the lives of her people. They believed she intervened in times of need, comforting the suffering and guiding the lost. People invoked her name in prayers and rituals and carried her image in processions to honor her divine power.
The Tecuilhuitontli, held in May, was one of the most important festivals dedicated to Toci. During this festival, people gathered in temples and homes to offer prayers and sacrifices to the Grandmother Goddess. They danced and sang in her honor, and midwives and healers performed rituals to invoke her blessings.
Toci’s influence extended beyond the physical realm. The Aztecs believed she guarded the dead, guiding the souls of the departed to the afterlife. They often placed her image in tombs and burial sites, testifying to her role as a protector and comforter in the face of death.
As the Aztec empire flourished, Toci’s cult grew in prominence. Her temples became centers of healing and spiritual guidance, and her priests and priestesses earned high respect for their knowledge and wisdom. However, the arrival of the Spanish conquistadors in the 16th century posed a profound challenge to the Aztec civilization and its beliefs.
The Spanish missionaries sought to eradicate the indigenous religions of the Americas, including the worship of Toci. They destroyed her temples, defaced her images, and persecuted her priests. Yet, despite these attempts at suppression, Toci’s legacy lived on in the hearts of the Aztec people.
Toci’s cult went underground in the centuries that followed, but her spirit continued to endure. She became a symbol of resistance and cultural continuity, her image hidden in secret places and her stories passed down through generations.
Today, Toci’s legacy remains alive in the traditions and beliefs of the Nahuatl people, the descendants of the Aztecs. They revere her as a powerful and benevolent deity; they whisper her name with reverence, and her image still adorns homes and shrines.
In the modern world, Toci’s message of healing and compassion resonates with people from all walks of life. Many see her as a symbol of the interconnectedness of all living things, a reminder that we are all part of a more extensive web of existence.
As the sun sets on the ancient lands of the Aztecs, Toci’s spirit continues to shine brightly. She remains the Grandmother Goddess, the protector of the sick, the comforter of the grieving, and the guardian of the dead. Her legacy testifies to the enduring power of faith and the resilience of the human spirit.
Price – $12,800