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., acquired in the 1980s.
Price – $6,850 – Domestic Delivery Included
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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 – Domestic Delivery Included
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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 – $8,800 – Domestic Delivery Included
Zapotec Effigy Incensario Vessel
The representation of this Zapotec 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, 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 – $4,850 – Domestic Delivery Included
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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 – Domestic Delivery Included
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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 – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Valdivian – Chorrera Stone Parrot Mortar
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. acquired in the 1980s.
Similar example is exhibited at The Museum of Fine Arts, Houston, Tx., Accession number 2004.1626
Price – $12,800 – Domestic Delivery Included
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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 – Domestic Delivery Included
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 – Domestic Delivery Included
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases