Uniquely sized Chancay false mummy mask. Carved from a solid piece of wood. The face is painted overall in red cinnabar or iron oxide. The facial features are excellent in high relief. Eyes are incised and filled with crushed white shell paste. Pupils are painted with black resin. The linear headband is also painted with the same black resin and white crushed shell, with the upper portion of the head left unpainted. These bands served to distinguish it from other member tribes. West Coast, Peru. ca. 1000 – 1400 AD.
Condition: Choice. Completely intact and all original – No restoration.
Measures 6.5″/16.51 cm in height, 3.25″/8.25 cm. in width.
Approx. 8.25″/20.95 cm overall height on stand. – Rare
Custom wood and metal base included.
Provenance: Ex Raul Moreno, Cayuco Gallery WA; Private Florida collection.
Price – $1,295
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Quimbaya Champlevé Bowl
Superb example of meticulous Quimbaya workmanship in red ware pottery. Deep cut away in champlevé (chip-carving) technique on the outer surface. Ample mineral deposits throughout. No repairs. Choice condition. Cauca River region, Colombia. 300-600 AD. It measures approximately 3″ tall by 5″ in diameter.
Provenance: Ex Murray Korda collection (1928-1998), Orwell, VT; Arte Xibalba Gallery 2005; Private Florida collection 2006
Price – $1,280
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Moche Wood Scepter c. 400-800 AD.
This intricately carved Moche wood scepter, representing a high-ranking warrior, is a remarkable artifact of Mochica artistry, dating back to 400-800 AD in Northern Peru. The warrior depicted is important, signifying his elite status through the detailed embellishments and symbolic elements adorning the scepter. He is poised, gripping a mace club close to his chest, symbolizing power and authority in Moche culture.
The scepter is richly adorned with inlaid Red Spondylus, meticulously shaped to form bracelets, belts, and eyes, adding a vibrant contrast to the dark wood. The necklace, crafted from Nacre (mother-of-pearl) and green stones, symbolizes the warrior’s connection to the spiritual world, with the green stones representing pupils, a significant element in Moche iconography. These adornments enhance the visual appeal and serve as indicators of the warrior’s high status and role in Moche society’s ceremonial or possibly military aspects.
A crouched jaguar, an influential and revered animal in Moche culture, is perched atop the warrior’s head. The jaguar, with its ears alert, eyes squinting, and canines bared, embodies intimidation and strength, projecting the warrior’s fearsome nature. The presence of two long-fanged serpents extending down his back and shoulders further emphasizes the connection to powerful, supernatural forces, as serpents were often associated with fertility, water, and the underworld in ancient Andean cultures.
The lower handle of the scepter tapers elegantly, maintaining the overall balance of the piece while ensuring it is practical for use. The beautiful patina that has developed over centuries adds to the scepter’s aesthetic and historical value. Trace roots and microscopic textile fibers are still embedded in the resin, offering a glimpse into its ancient origins.
This piece measures over 12 inches (30.48 cm) in length and extends to 15 inches (38.1 cm) when mounted on its custom metal stand. As a well-preserved and finely crafted example of Moche woodwork, it serves as both a work of art and a cultural relic, offering insights into the Moche civilization’s beliefs, rituals, and social structures.
Condition: Choice
Provenance: Ex Sam Johnson, Caddo Museum A-165 Card, Murfreesboro, AR; Ex Kevin Pipes Collection, Dandridge, TN
Price – $12,800
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Ecuadorian Standing Incensario
An Ecuadorian Standing Incensario is a ceremonial artifact that depicts a nude male figure perched on a stepped base. The figure is wearing a large brim headdress and large earplugs and has remarkable facial features. This piece is brown in color, indicating that it was subjected to a more controlled firing process. Unlike most Manteño artifacts, which are black due to lack of oxygen, this incensario was intentionally broken during rituals, re-assembled, and painted over break lines. It measures 15.5″ and is from Manta, Manabi, Manteño – Ecuador, dating back to 700 – 1500 AD. This is an impressive piece!
Provenance: Alex Acevedo Art Gallery NYC 1980’s.
Ref. Pre-Columbian Art of South America, Alan Lapiner., Pg. 363 Plates 785, 757
Digging up prehistory “The Archaeology of Ecuador” Pg. 359
Price $2,480
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Valdivian Ceremonial Stone Axe
A wonderfully sized ceremonial stone axe from the Valdivian culture, Ecuador. Green diorite stone with excellent delineation between colors. Highly polished. These objects are only known through archeological studies in northwest South America and are usually described as ”ceremonial axes.” They are substantial stone axes that were symbolic and interred as payment to Mother Earth. The Museo Chileno of Precolumbian Art describes these as “Lithophones.”
Measures 14.5″/36.83cm in height by 9″/22.86cm wide, 16.5″/41.91cm mounted—weight: 11.5 lbs.
Santa Elena, Ecuador. 4400 – 1450 BC. Choice condition.
Provenance: Collection of the Landazuri Family Estate, New York, NY
Price – $6,850
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Guangala Bone Boundary Markers
An extraordinary pair of carved Guangala bone boundary markers, This high elite is heavily embellished throughout his body in prototypical geometric Guangala fashion. He stands with arms across the chest, wearing a royal headdress. The Jaguar is poised atop a column of composed registers to exemplify power. Two separate Zig-zag elements between double horizontal thick bans. Both are superb, with excellent patina. Each measures 7.25”/ 18.41 cm. respectively. Mounted on a custom metal display stand.
Ecuador Ca. 500 BC – 500 AD.
Condition: Choice
Provenance: Ex Alexander Acevedo Gallery, NYC
Price – $12,500
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Fremont Clay Effigy Figurine
An exceedingly rare unfired buff clay figurine from the Fremont Culture. They are a prehistoric Native American culture that inhabited what is now the western United States, particularly in the present-day states of Utah, Nevada, Idaho, and Colorado, during the Late Prehistoric period, roughly from about 700 to 1300 AD. The purpose of this figurine is still unknown, but it suggests these artifacts may be associated with religious rituals or fertility. Very little is known about this culture, but they are famous for their rock art. Their pictographs and petroglyphs depict trapezoidal figures with arms, legs, and fingers and are decorated with headdresses and necklaces.
This figurine measures approximately 4″ in height. It has a flat, broad face with a pronounced brow ridge and nose. Applied oval-shaped eyes with decorative incisions. Short arm with applied adornments and a long beaded choker and loincloth. There are traces of white pigment and black ash throughout. It is in choice condition.
Provenance: Ex Lozovsky, CA; Private Florida collection.
Note: Per the Advances in Archaeological Practice: Archaeological Fingerprinting and Fremont Figurines, There are just 400-plus documented Fremont figurines known, most of them highly degraded and in broken condition.
This piece will also include an additional Certificate of Authentication by Jackson Gallery. Grade: G-9+ Note: Extremely Rare Form.
Price – POR
Zatopec Effigy Incensario Vessel
The representation of this Zatopec effigy vessel depicts an ancestor of the deceased or shaman adorned by a jaguar’s headpiece that features a plumed feathered backdrop. Decorative elements, including rosettes, are present. The individual holds a vessel in one hand while the other holds an unidentified item. He wears large ear disks and accessorizes a maskette necklace or possibly a decapitated head supported by a twisted cord known as a cruller. Ears of corn are part of this ensemble. The urn’s design includes an ornamental front that flares out from behind on both sides and flaps in the shape of a capital “T,” which could be the Ik’ symbol representing breath, wind, and life.
Pre-Columbian, Oaxaca, Mexico, Zapotec culture, Monte Alban, ca. 100 BC – 200 AD.
Measures: 6.75″ H; 5.5″ L
Condition: the object in one hand tip is missing; otherwise, it is Choice.
Provenance: Ex- Marty Matz. Acquired 1970’s; J. Alexander, Watsonville, CA
Price – $5,850
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Moche Pututu Trumpet Shell Horn
An important Moche Pututu Shell Waylla Kepa. The early Andeans used this marine shell (rare) trumpet to partake in ceremonial announcements, call to arms, and communicate with supernatural forces. They emit a load-blasting sound that is said to linger on across time and space. The conical mouthpiece is uniquely made of silver. The addition and presence of this silver metal mouthpiece is essential. It strongly suggests a desire to enhance the instrument’s performance, as this allows for a better and more comfortable vibration of the lips. Metal mouthpieces are standardized in the Northern Peru region during the first half of the first millennium. Unfortunately, the few Strombus Waylla kepa that have survived have lost their metal mouthpieces, with some being restored. – Rare
Northern Peru, Ca. 1 – 800 A.D. Measures 6”/15.24 cm long. All Original, no restoration. It has an excellent, rich patina.
A similar example is available at the online Museo Largo Collection, Catalog no. ML200001
Provenance: Ex – E. Lehr, Normal, IL
Price – $1,445
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Inca Bronze Jaguar Tumi
This Inca bronze Jaguar tumi represents a remarkable example of ancient ceremonial artistry. The tumi features a short, thick handle designed for a firm grip, reflecting its functional use in ritual practices. The blade, an oval-shaped half-moon, is a rarer design among such artifacts and is gilded, enhancing its visual appeal and signifying its ceremonial importance. The gilding would have made the tumi an object of great value, likely used in significant rituals or as a symbol of power and authority within Inca society.
Atop the handle is a finely detailed jaguar finial, a potent symbol in Inca culture, representing strength, courage, and connection to the divine. The artist depicted the jaguar lying on a rectangular platform, its mouth open with teeth exposed, ready to defend or attack, echoing the animal’s revered status. The craftsmanship is evident in the well-formed eyes, ears, and spots, each carefully rendered to capture the essence of this majestic creature. The attention to detail in the jaguar’s features, from its piercing eyes to the intricate pattern of its spots, showcases the skill of the artisan who crafted this piece.
While compact at 3.25 inches, this tumi is a powerful representation of Inca iconography and metallurgical skill. The accompanying custom-made stand, bringing the total height to 3.75 inches, allows the piece to be displayed securely, highlighting its artistic and historical significance.
The tumi would make an exceptional addition to any collection of pre-Columbian art or ceremonial artifacts, offering a tangible connection to the rich cultural traditions of the Inca civilization.
Condition is Choice. Peru c. 1350-1500 AD.
Provenance: Ex Private New York collection, NY
A similar example is housed at The Metropolitan Museum of Art, Accession Number: 64.228.242; the “1874 German Bilder Atlas” and in “Cobre Del Antiguo Peru.”
Price – $5,250
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases