Valdivian-Chorrera stone mortars shaped like parrots are artifacts from the Valdivian culture, which thrived in coastal Ecuador between 3500 BCE and 1800 BCE. The Valdivian culture is known for its intricate stone craftsmanship, particularly in the form of ceremonial objects and tools.
Scholars believe the parrot-shaped stone mortars held significant ceremonial or ritualistic importance in Valdivian-Chorrera culture. Evidence suggests these mortars were most likely adopted for ceremonial use or in a ritual setting and not used for everyday use. However, their distinct shape suggests they may have also held symbolic or spiritual significance.
The craftsmanship of these artifacts is remarkable, showcasing the skill and artistry of the Valdivian-Chorrera people. This greenish serpentine stone mortar is carved from a single piece of stone, with detailed attention to the parrot’s features, including its head, beak and tail, also emphasizing some lite incised marking on the body and around the eyes.
These artifacts provide valuable insights into the cultural practices and beliefs of the Valdivian-Chorrera society, shedding light on their reverence for nature, animals, and the spiritual world.
Measures 9″ in Length.
Condition: Beak and one foot have been reattached otherwise in excellent condition.
Provenance: Ex – G. Landazuri, New York, NY
Similar example is exhibited at The Museum of Fine Arts, Houston, Tx., Accession number 2004.1626
Price – POR
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Aztec Druzy Crystal Skull Maskette
This sophisticated druzy quartz stone skull maskette exemplifies intricate Aztec artistry. This macabre-looking skull is adorned with a stylized coiffure or wraparound headdress; this piece boasts marvelous decorations, including ornate swirling double brows, intricately designed ear elements, and several perforation holes for suspension. Its vibrant finish, painted heavily in red ochre on both sides, adds to its allure. Red ochre held deep symbolism in Aztec culture, representing vitality, and was often used in religious ceremonies and rituals. Believed to offer protection and prosperity, it was a significant element in Aztec artifacts. This skull maskette is a testament to the artistry and craftsmanship of the Aztec civilization, making it a prized collector’s item for enthusiasts of ancient art, history, and spirituality.
The skull, or calavera, symbolized death and rebirth in Aztec culture. It was often depicted in artwork and used as decoration during rituals, ceremonies, and religious practices. In Aztec mythology, the skull was associated with the goddess Cihuacoatl, who was revered as a protector of the dead and believed to have the power to transform into a serpent. The skull was also seen as a symbol of transformation and renewal, representing the cycle of life and death central to Aztec beliefs. Post-classic period c. 1300 – 1521 A.D.
Measures: 2.5″ Height; 3″ Length
Condition: Choice – Rare
Provenance: Ex – T. Tomaszek, Blackstone, MA
Price – Sold
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Valdivian Semi-Abstract Stone Figure
Carved stone figurine with face and legs indicated (notched). Stylized in a semi-abstract form. Stage 2 Palmer Notched Incised. This Formative culture represents the earliest known appearance of this artistic expression in the New World. Similar examples in Ancient Ecuador – Culture, Clay, and Creativity 3000-300 B.C. It also appears at Casa del Alabado Museum of Pre-Columbian Art, Quito, Ecuador.
Measures 6.875″/17.46 cm in height—mineral and sediment deposits in microscopic crevices. Choice condition.
Loma Alta, Ecuador Ca 2500 BC – 2200 BC.
Provenance: Ex. Mann Collection, Va. Acquired in the 1970s
Palmers Stones represents the earliest known appearance of human figurines in the New World. They range from simple ground plaques (Phase 1) to elaborately carved representations in which the facial features are clearly indicated, and hands are depicted as a feather or rake-like design. The stone prisms are turned into human effigies by low relief carving emphasizing the eyes and hands. The progressive sequence of stone figurines is from simple rectangular plaques to plaques with a groove indicating the division between the legs to the more detailed depiction of the human face and limbs (Phase 2).
Price $5,850
Note: This mask is presently being publicized on the Latin American Studies website under Chancay Mummy Bundle Wooden Mask – Latin American Studies
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Ecuadorian Manteño Vessel Jar
An anthropomorphic jar with gradual step increase to lower bulbous body. Well-detailed sculpted face – punched out from the interior. The facial expression shows a warrior with clenched teeth. Excellent yellow ochre pigment. A large elongated head wearing a traditional garment with light handling of linear and scroll motifs surrounds the entire helmet. The surface is highly polished dark brown, except for the facial area. Textured linear designs are also incised on the lower portion of the vessel. Manteño culture, Manta, Ecuador c. 500 – 1500 A.D. Integration period.
Fully intact without any restoration.
Measures: 8.75”/22.22cm
Condition: Choice
Ex. Carazola Collection, FL
Similar example published in Ancient Ecuador – Ancient Peoples and Places, plate 62.
Price $1,480
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Chancay Jaguar Vessel c. 900-1400 A.D.
This lovely Chancay jaguar vessel exemplifies the artistry and symbolism characteristic of the Chancay culture, which thrived on the central coast of Peru between 900 and 1400 A.D. The vessel features a rounded body that flares slightly toward the wide lip, giving it a balanced and harmonious shape. The strap handles are functional and enhance the vessel’s aesthetic appeal. The most striking feature is the crouching jaguar, meticulously sculpted in high relief, projecting outward from the neck area. The jaguar, an animal revered in Andean cultures for its strength and spiritual significance, adds a dynamic and powerful element to the piece.
Strong black and white paint decorates the vessel’s surface in intricate designs covering the body and the neck. These designs likely held symbolic meaning, reflecting the Chancay people’s connection to their environment and spiritual beliefs. Despite its age, the vessel is intact, with only minimal surface erosion, indicating it has been well-preserved over the centuries. The vessel measures 8 inches (20.32 cm) in height, making it a substantial yet manageable piece for display.
The Chancay culture is known for its distinctive pottery, often characterized by its monochrome palette and stylized forms. This vessel is an excellent example of their work, showcasing their technical skill and deep connection to the natural and spiritual worlds. Collectors highly value such pieces for their beauty and the cultural insights they offer into a civilization that played a significant role in pre-Columbian Peru. An intact and beautiful example.
Provenance: Ex-Florida collection acquired 1980s
Price $785
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Chancay Crocodilian Vessel
It is a gorgeous Chancay vessel of substantial size. Black-on-white paint patterns are throughout the front, back, neck, and looped handles. Solid zigzag nested triangles, circled dots, and step waves are arranged around stylish crocodilian motifs. Chancay, Peru c. 1200 – 1450 AD.
Measures 22″, 55.88cm. The top rim has been reassembled and restored; otherwise, it is intact and in excellent condition.
The Chancay culture, which thrived between 1000 and 1470 AD on the central coast of Peru, is celebrated for its distinctive ceramics, textiles, and metallurgy. Among their ceramic works, large Chancay vessels are particularly notable for their unique characteristics and multifaceted functions.
Large Chancay vessels are generally substantial and often employed for storage or ceremonial purposes. These vessels come in various forms, including jars, urns, and pitchers, typically featuring rounded shapes with wide bodies and narrow necks that sometimes flare out at the rim. The impressive dimensions of these vessels make them significant in archaeological findings and museum collections.
A defining feature of Chancay pottery is its monochromatic style, primarily utilizing shades of cream and black. The decoration on large vessels often includes intricate geometric patterns, stylized anthropomorphic and zoomorphic figures, and motifs with symbolic or ritual significance. These designs are meticulously painted on the vessel’s surface, showcasing the artisans’ skill in creating detailed and precise imagery. Chancay potters employed coiling and molding techniques to construct their vessels. After shaping, artisans often smoothed and burnished the pottery and then painted it with mineral-based pigments. Some vessels were also incised or stamped before firing, adding texture to their visual appeal.
The functions of large Chancay vessels are diverse. People used many to store food, water, and other essentials. Their size made them suitable for holding substantial quantities, vital for a society dependent on agriculture and trade. The elaborate decoration and considerable size suggest that people used some Chancay vessels in rituals and ceremonies. They may have held offerings or been part of burial practices, as indicated by their frequent discovery in tombs and gravesites. The motifs and figures on Chancay vessels likely had social and symbolic meanings, potentially related to cosmology, mythology, or social hierarchy. These vessels could signify the owner’s status or be used in rituals to communicate with deities or ancestors.
Large Chancay vessels are often found in burial contexts, providing insight into the mortuary practices of the Chancay culture. These vessels, sometimes placed alongside mummies, suggest a role in funerary rites and the afterlife beliefs of the Chancay people. The Chancay culture engaged in extensive trade with neighboring cultures, as evidenced by the presence of Chancay ceramics in distant regions. This trade likely facilitated the exchange of ideas and artistic influences, contributing to the unique style of Chancay pottery. The creation of large vessels required significant technological expertise. Chancay potters demonstrated advanced skills in constructing and decorating their ceramics, reflecting a highly developed craft tradition within their society.
Today, people value large Chancay vessels for their artistic and historical significance. Museums prominently display them, and researchers study them for insights into pre-Columbian Andean cultures. Collectors and researchers alike appreciate these vessels’ beauty and the cultural stories they convey, contributing to our understanding of the Chancay civilization and its contributions to pre-Columbian art.
Price $3,885
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Caddo Belcher Engraved Bottle
This vessel is a Caddo culture Long-necked Belcher engraved bottle. It is thin-walled with a globular body separated by an angular flat bottom. The long neck is flared outward at the top. This piece is rich Brown with a burnished surface. Decorated with wide engraved swirls with applied red ocher.
The bottle measures just over 7 inches tall, making it a substantial example of Caddo craftsmanship. The vessel originates from Lafayette County, Arkansas, dating back to approximately 1500 – 1700 A.D., during the later period of the Caddo civilization known for their advanced pottery techniques. The Caddo people were skilled artisans, and this bottle showcases their ability to create complex forms and intricate designs, reflecting the high level of technical and artistic development achieved by the culture during this time.
The long neck, flaring outward at the top, is a distinctive feature of this type of vessel, often associated with ceremonial or ritual use. The engraved swirls, emphasized by the red ocher, add a dynamic and visually striking element to the bottle, demonstrating the Caddo’s expertise in combining form and decoration to produce objects of beauty and cultural significance.
The bottle’s condition is noteworthy. The neck was restored, a common practice in preserving ancient pottery. The restorer carefully executed the restoration, ensuring the vessel remained in excellent condition overall. The integrity of the body and the clarity of the engraved designs remain intact, allowing for an appreciation of the bottle’s original aesthetic and functional qualities.
This Belcher engraved bottle represents an essential artifact from the Caddo culture, providing insight into the ceremonial practices and artistic achievements of one of the most sophisticated Native American cultures in the southeastern United States. Its historical and cultural significance and well-preserved state make it a valuable addition to any collection of Native American artifacts or pre-Columbian art.
Price $1,425
Chancay Female Cuchimilco
A large Chancay Cuchimilco Female Figure is a notable piece of pre-Columbian art. This creation is of hollowed ceramic earthenware, and the body form and iron oxide paint are nice and uniform. Adorned with stylized dotted triangular shapes and step patterns, it provides guidance to its respected clan and adds to its distinct appearance. The holes on top of the head within the solid painted headband held feathered plumes (penochos) to distinguish status within a social group. These figures represent individuals and were usually found in tombs of the nobility to ward off evil spirits.
Interestingly, some scholars and enthusiasts refer to these figures as “star gazers” due to their upward-facing gaze. This characteristic posture has led to various interpretations, suggesting that these figures might have had a spiritual or astronomical significance, possibly as guardians watching the celestial movements.
This figure measures 23.25″ (59 cm) tall and originates from Huaral province, Lima region, Peru, dating back to 1000-1475 AD. The hand and pinky have been reconstructed, and there is a very minor touch-up of paint. Otherwise, it is in excellent condition, making it a valuable addition to any collection of ancient artifacts.
The Chancay culture, known for its distinctive pottery and textiles, flourished on the central coast of Peru. Their ceramic figures, often found in tombs, reflect a rich cultural heritage and provide insight into their beliefs and social structure. This Cuchimilco Female Figure is a remarkable example of their artistry and craftsmanship, showcasing the intricate details and symbolic elements of Chancay ceramics.
Compare similar examples in: Ancestors of the Incas, The Lost Civilizations of Peru by Kauffmann-Doig.
Price $4,850
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Chancay Cradleboard Litter
A finely made Chancay Cradleboard litter – kupulwe. Laid upon a bed of reed slats, a solid clay figure is nicely wrapped using a cotton textile blanket, secured with string and carved spool-type finals on wood beams. Coarse human hair is braided and intertwined between cross-members to assemble the platform. A substantial amount of personal care has been given in its construction.
A large original piece was reattached to the left side of the face and legs. Minor loss to tip of nose, otherwise overall excellent condition. Lima region, Peru 900-1400 AD. – Extremely Rare
Measures 12.5″/31,75cm in height un-mounted. 13.25”/33,65cm with custom metal stand.
Private California Estate Collection.
Price $3,885
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Quimbaya Female Retablo
A large, heavy, solid, unburnished buff slab figure from the Quimbaya culture, Caldas complex. The rarer seated female in the state of trance with extended forward down arms and legs. Adorned with incised bands painted in white representing jewelry. Rectangular-shaped head with a faint tattooed face. The eyes and mouth are slit. The nose is largely molded with a piercing hole. The majority of slab figures have survived without paint, but little remain on some, such as the black bands across her face and white bands seen on this figure.
Five unique piercing holes running vertically down atop her head meeting up with horizontal ones on her forehead. Used to hold feathered plums to distinguish status within a social group. Both left leg and arm reattached otherwise in excellent condition.
Measures 10.5″/26.67 cm tall by 7.5”/19.05 cm wide. Colombia 1000-1400 AD.
Provenance: Ex-Private Florida Collection
Price $1,485
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases