An extraordinary pair of charming Jamacoaque Rowing Figurines. They rarely appear on the open market. Both are poised skillfully in a stand-up paddling position. They wear an oversized loincloth, a wraparound headdress, large ear and nose ornaments, and lovely remaining yellow, red, and white pigments.
Small repairs with minor loss; otherwise, they are in excellent condition. Measures 4.5”/11.43 cm. Manabi, Ecuador 600 BC – 500 AD. – Ultra Rare.
The only known examples, probably made by the same hand, are exhibited at the Museo Antropologico y de Arte Contemporaneo in Guayaquil, Ecuador. – Last image shown.
Provenance: Ex-Morales, FL Acquired by inheritance 1970’s
Price – $1,895 – Domestic Delivery Included
These are important ancestral stone idols from the Bahia culture of Ecuador. Ca. 500-500 A.D. Curved tusk-like shape with anthropomorphic features incised on the front. Faces have ovoid eyes, mouths, and a parallel-sided nose. Horizontal band(s) on top of the head depict crowns. Long, slender arms are to their sides, and their hands are slightly elevated to the chest in a praying state. Found both on the Island of La Plata and in habitation sites in Manabi. By contrast, Valdivian flat plaques (Palmer Stone) are similar but lack the distinctive rounded, tusk-like shape. Very Rare.
Offered Individually or As a Group
Measures:
1 Left – 6.5”/16.51 cm. Price $2,850 – Domestic Delivery Included
2 Middle – 6.0”/15.24 cm. Price $2,850 – Domestic Delivery Included
3 Right – 7.3”/18.41 cm. Price $2,750 – Domestic Delivery Included
Group Offering – Price $7,500 – Domestic Delivery Included
These unique figurines were deposited in small clusters and buried upright in small shallow holes exposing only their heads. Indication of offerings or part of some ritual. They are limited to be found within the borders of modern Ecuador as none are known from Peru or Colombia. Many ceramic figurines within the Regional Development Period are clearly depicted wearing or holding tusk-shaped figurines around the neck or held in the hands.
Ref: Pia Hahn, Institute of Archaeology; Dorse, Field Museum; Ecuador, Betty J. Meggers.
Similar examples are shown in Charms in pre-Columbian Ecuador pg 40.; Amerindian Signs pg 96, plate 59;
Pre-Columbian Art of South America by Alan Lapiner, pg 449, plate 739
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 – Domestic Delivery Included
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 – Domestic Delivery Included
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.
Provenance: Howard Rose Gallery, NY
Price $850 – Domestic Delivery Included
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.
Provenance: Howard Nowes Gallery, NY
Price: $850 – Domestic Delivery Included
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 – Domestic Delivery Included
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: $8,500 – Domestic Delivery Included
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. – Domestic Delivery Included