Costa Rican Anthropomorphic Axe God Pendant. It is carved in low relief with a highly glass-like polish front—linear incising for all facial features. Hands are united across the upper chest. The rear shows a flat sawed surface, partly smoothed and broken septum—a sharp bottom edge. There are two drilled holes on each side of the head through which this object could be suspended and worn. Beautiful speckled medium green jade. H. 3.35” tall. Choice condition. Guanacaste-Nicoya region, Costa Rica. Ca. 500 B.C. – 500 A.D. Positioned on the stand for illustration purposes but can be made upon request without charge. Lead production time is 3-5 working days.
The axe gods are believed to have had ceremonial and symbolic significance, possibly representing deities or ancestral spirits. They were crafted with great skill, showcasing the artistic and technical prowess of the ancient cultures in the region. The use of jade underscores its cultural importance, as jade was highly valued for its rarity and perceived spiritual properties.
Carvings on Guanacaste-Nicoya Jade axe gods are culturally and symbolically significant, portraying mythological, spiritual, or ceremonial themes. These intricate carvings played a role in religious rituals, serving as conduits between the physical and spiritual realms. The artifacts, crafted with precious materials like jadeite jade, denoted high social status and participation in important ceremonies. Nature-inspired elements in the carvings highlight the cultural connection to the environment, while the use of jade adds ritualistic importance associated with fertility and renewal. These carvings offer insights into the cultural identity and artistic expression of the ancient Mesoamerican societies in the Guanacaste-Nicoya region.
Price $900
Inca Axe Blades c. 1400 A.D.
A pair of heavy ornamental bronze circular axe blades with irregular form. Both are cast and hammered on the cutting edge. One has a crescent-shaped blade with pointed prongs and a triple supporting hafting base with two holes. The other is a half-moon-shaped blade engraved with geometric designs on both sides and a double-supported hafting base. Inca, Peru ca. 15th century.
Measures: 5.5”/13.97 cm x 6”/15.24 cm; 5.5”/13.97 cm x 9”/22.86 cm. Arranged in a 12″/30.48 cm by 16″/40.64 cm by 3”/7.62 cm black shadowbox glass display case or a custom stand can be arranged.
Similar examples are illustrated in “Cobre del Antiguo Peru” pp 468 – 469, pl 166 and 167. Also housed in the Museo Oro del Peru
Provenance: Private Fort Lauderdale, FL collection. Acquired 1980’s.
These large Inca bronze axe blades were utilized for ceremonial rituals and often featured intricate designs, symbolizing the cultural and religious significance of the Inca society. The blades were crafted and typically made of copper alloys for their resilience, hardness, and bright luster. The craftsmanship of these artifacts highlights the Inca’s technological achievements during their reign in the Andean region.
Price $8,850
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Pre-Columbian Art For Sale
We provide quality pre-columbian art for sale. Galeria Contici specializes in pre-Columbian Mesoamerica, South America, and Central America artifacts. The gallery offers many artifacts, such as pottery, sculptures, masks, and jewelry. The gallery’s collection includes pieces from various cultures, such as the Aztec, Maya, Moche, Nazca, and Inca. In addition to selling antiquities, Galeria Contici also provides consultation and educational resources on this subject.
For over 15 years, Galeria ConTici has passionately devoted our expertise to curating an exceptional collection of unique and impressive ancient art. As a Pre-columbian Art dealer, we offer our discerning clientele a journey through time and culture. Each piece in our collection is a testament to the intricate quality of ancient civilizations, evoking a deep appreciation for fine art.
At Galeria ConTici, we prioritize authenticity, subjecting every valued item to rigorous microscopic analysis. Each artifact has been meticulously vetted to represent the specified culture and age authentically. We stand behind the genuineness of our collection with an unconditional guarantee, providing our clients with confidence in the authenticity of their acquisitions.
When it comes to art collection and acquisition, verifying authenticity is also crucial. Galeria Contici offers thorough database checks, incorporating the use of those provided by the Art Loss Register (ALR), which are essential. These databases contain extensive records of stolen art and cultural artifacts, aiding in confirming legitimacy and preventing the unwitting acquisition of illicit pieces. Successful verification enhances a piece’s value and demonstrates a commitment to ethical art stewardship and cultural preservation. Authenticity through database checks is vital for upholding ethical standards and safeguarding cultural heritage.
All artifacts at Galeria ConTici are ethically sourced and legally obtained. Our commitment extends to strict adherence to state and local laws, aligning with crucial articles such as “The Antiquities Act of 1906,” “UNESCO 1970” (ratified in 1972), and “UNIDROIT 1995.” This unwavering dedication ensures that our clients can explore our collection with the assurance that every acquisition is not only a work of art but also acquired in full compliance with established laws and regulations.
Explore the rich cultural heritage with Galeria ConTici, where every piece tells a story of craftsmanship and authenticity.
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Paracas Wood, Stone and Feather Club
An exceptional Paracas wooden club. One of the hardest items to come by intact from this region with these outstanding features. The wood handle is probably made from the Mastodon palm. Parrot feathers surround and trim the lower base of the six-pointed stone head. The maker did not hold back in demonstrating that this club was made for a high-status individual. The outer mace has been incised with a humanoid figure. Each point is adorned with an appendage. Under magnification, tiny clear crystal stones are embedded in the eyes with a gold flake nested in one. A triangular green stone is placed on his forehead. In the center body of the stone mace is an extraordinary series of Sun Flairs edging outwards from a cast Silver moon – illustrating a solar eclipse.
This depiction strongly suggests the shared Andean Sun God – later known by the Incas as “Inti.”
The lower shaft is also impressive. The wood finial is carved flat into a musician holding a bone flute. Larger light purple stones are embedded to each side, separating his body and arms. Indeed, it is a fantastic piece. South West Coast, Peru. Paracas, Early Horizon ca. 800 – 100 BC.
Measures 17”/43.1 cm in length, 4.5”/11.43 cm mace head.
Condition: The wood shaft is rough and fraying with chipped stone points; otherwise, in excellent condition.
Ex Boston, MA collection acquired before 1975
Price $5,800
Paracas Sun God Mace Club – flickr
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Painted Stone Tablet c. 3800 – 2200 BP
This gray volcanic stone is painted monochrome red in the Antimpampa style. The prominent motifs are anthropomorphous and zoomorphic figures. The scene centers on abstract three-figured humanoids with alternating inverse animals and other adjacent figures. Formative Period (c. 3800 – 2200 BP).
Measures 21″ in height, 13″ in width, and 1″ in depth. Height on the included stand is 25″.
Provenance: Ex. Cathryn Cootner Estate Collection, Sonoma, CA
These adorned stone tablets resemble a collection of later ceramic plaques found at the mountainous Chucu site, Cerro Cupara, Chuquibama, Condesuyos/Arequipa, Peru. They are thought to have served as votive offerings, ensuring the secure journey of the soul to the “Other World.”
Related Examples
Museo National De Arcqueologicas, Lima, Peru – See: Arcqueologicas, Vol. 21, Museo Nacional de Arcqueologicas, Antropologia E Historia Del Peru, 1992, figs. 23, 30, and 37, for a group of ceramic plaques collected at the Chucu site, Arequipa, Peru.
Ref: Jesús E. Cabrera has written extensively on these enigmas. La Cultura Antimpampa and Diseño Grafico Arcaico. Rock Art Research (AURA) Volume 37, Number 1 article by Jesús E. Cabrera pp. 59-66. Available in pdf format upon request.
Cathryn M. Cootner, a prominent figure in ethnographic art and textiles, left an enduring mark on the community with her profound enthusiasm for diverse tribal arts. From the esteemed Hajji Baba Club in New York to San Francisco’s annual Tribal Arts Show, her passion resonated widely. As a perpetual learner, she immersed herself in collecting, studying, teaching, and exhibiting tribal arts for over four decades.
In 1968, Cootner delivered her inaugural lecture on textiles, marking the beginning of a remarkable journey. By 1981, she assumed the role of guest curator at the Textiles Museum in Washington, D.C. The subsequent year saw her appointment as the first Associate Curator in Charge of the Rug Collection at San Francisco’s M.H. de Young Memorial Museum. Progressing to Curator of Tribal Rugs and eventually Curator-In-Charge of the Textiles Department, Cootner’s dynamic acquisition and exhibition initiatives played a pivotal role in elevating the museum to its current status as a respected repository for top-tier textiles and oriental rugs. A highlight of her contributions was the groundbreaking 1991 exhibition showcasing Caroline and H. McCoy-Jones’s unparalleled collection of Anatolian kilims.
Beyond her museum roles, Cootner was an appraiser and authored two books, seamlessly integrating her personal and professional passions. Outside the confines of the museum, she was an avid collector, filling her home with ethnographic textiles and objects from across the globe, each possessing a cherished story she delighted in sharing.
Price P.O.R.
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Late Inca/Spanish Colonial Silver Tupus
An elegant set of late Inca/Early Spanish Colonial Tupus. Each is handcrafted in silver. Hammered sheet metal, open scroll work with intricate floral/harvest and bird decorations. The metalworker applied a punch to produce the motifs on the inner region of the head, the edges, and the upper stem. Tupus or shawl pins were a traditional accessory to fasten textile garments in women’s clothing throughout the Andean region. Also displayed as jewelry. The larger the Tupu, the higher your status in the community. These Tupus are larger than average. Each piece is individually shaped with a gorgeous design. Largest measures over 11”. Smallest is 6.25”. Peru 16th to 17th century.
Condition: Fine. There is excellent patina on the surface with minimal oxidation present. Impacted dirt in crevasses.
Price $2,250
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Olmec Baby Figure c. 1200 – 400 BC
This gorgeous white-cream Olmec baby figure is hollow. It belongs to a subset of artifacts and represents the Olmec class of human “baby-face” figures. These delicate pudgy figurines are notable for their intricate craftsmanship and are believed to have had ritual or symbolic significance in Olmec culture. It showcases traits akin to well-nourished individuals. The Olmec civilization might have shown a keen interest in nurturing children and the mythical ties between the growth of infants and the cycles of agriculture. These sculptures meticulously capture realistic skin folds and subcutaneous fat, symbolizing abundance and ample resources. This representation could be a portrait of a maternal elite or can be interpretative of a crop fertility figure. Her left hand embraces her stomach while the right hand extends to her lower back. The face exhibits crisp features like slit-stylized eyes, a broad upturned nose, a downturned open mouth exposing her jagged upper teeth, squared ears with large open earplugs, and an intricate hairstyle and turbine on her elongated head. Notably, the center part of the figure’s back, head, and bottoms of her feet feature iconographic cross-vent elements, possibly alluding to the symbol of divinity.
Hollowed body. Made from a pinkish-colored clay. Covered in white-cream slip and red pigment. Possibly powdered cinnabar and red ochre, and likely employed in anointing the tomb where this figure found its place.
She stands independently, but a custom stand will be fabricated to provide a safer platform and extra support.
It is rare to find an Olmec standing babyface figure.
Ca. 1200 – 400 BC
Gulf Coast, Mexico
Measures: 8.5” in height.
Condition: Fully intact – Choice
Provenance: ex-old private Coral Gables Collection, Acquired in the 1960s-1970s by inheritance.
Price $14,500
You may also preview this Olmec Baby Face Figure via YouTube by clicking here: Olmec Baby Face Figure.
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Fine Guangala Figure c. 500 BC – 500 AD
An elegant female ocarina. Expressive example with finely incised surface details. Excellent facial features, pierced nose and ears. Beautiful handling of the incised motifs throughout the body. A whistle atop of the head with vent holes behind shoulders. A very sweet effigy. Guangala, Ecuador. c. 500 BC-500 AD. It measures 8 1/2″ high. Comes mounted on a custom metal stand.
Provenance: Howard Nowes, Art for Eternity, NYC
Price $2,875
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Olmec Stone Were-Jaguar Mask
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.
Uncover the awe-inspiring craftsmanship of this Pre-Columbian Olmec were-jaguar transformation mask, originating from Mexico to Guatemala and dating back to around 900 to 600 BCE. Meticulously carved from dark green omphacite jade, this expressive masterpiece features a square jaw, feline eyes, and a trapezoidal mouth with a flared upper lip, creating a strikingly realistic feline face. The absence of a typical headband allows for a more dramatic expression, surpassing even the most theatrical Olmec visages known. Delve into the details, from bean-shaped eyes with drilled pupils to prominent nasolabial folds emphasizing curved fangs.
This exceptional full maskette, measuring 4.1″ W x 5.3″ H, showcases additional features like lengthy ear flaps and an impressed striation on the top of the head. Explore the significance of the green color and jaguar symbolism, reflecting growth, renewal, and power in the pre-Columbian world. The Olmec would have considered this jade mask an exceedingly valuable and rare piece of ceremonial art.
Explore this mask’s remarkable attention to detail, highlighting expressive lips, a cleft palette in the jaguar mouth, a full nose with pierced nostrils, stylized elliptical-shaped eyes, and partially drilled circular motifs at the mouth corners. Unraveling the meanings of Olmec masks, scholars speculate on the symbolic significance of green – linked to vibrant growth, renewal, and cyclical rejuvenation after death. Delve into the pre-Columbian worldview, where jaguar imagery represented power and might – Warriors, rulers, hunters, and shamans all identified with this formidable creature, the largest and most powerful feline in the New World.
The overall height mounted with this custom stand is 7.3″ H (18.5 cm).
Condition: Polished face with a partly smooth back. No fractures. Completely intact in choice condition.
Provenance: L. Smyth, Florida. Acquired 1970s – 80s.
Accompanied by a hardbound CIRAM Scientific Analysts report attesting to its authenticity and Ruffner Art Advisory Fair Market Value report. Copies are available upon request.
Reference:
A similar example can be found in Dumbarton Oaks in Washington DC under accession number PC.B.020. Additionally, another example depicting a slightly earlier period in the transformational process can be seen at The Metropolitan Museum of Art under accession number 1977.187.33
Sotheby’s New York sold another similar Olmec jade mask for $481,000 during their “African, Oceanic, And Pre-Columbian Art” auction on May 16th, 2008 (sale number N08444, lot 14).
Appears in the advert section in the July/August 2020 issue of the Apollo – International Art Magazine and Dec/Jan 2020 issue of the Native American Art Magazine. Native American Art Magazine
You may also preview this Olmec Mask via YouTube by clicking here: Olmec Were-Jaguar Mask.
Price $178,000
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Valdivian Monolith Six Sided Stone
Valdivia 8 (Piquigua Phase) Atahualpa site Ecuador. Succeeds the Palmar Incised type—Ultra Rare near choice stone. The monolith limestone block in bas-relief is embellished with resounding, wide excised carvings on all six sides. Four rectangular sides and two square top and bottom. She is overseeing the cosmos from all directions. These Valdivian stones are probably the purest abstraction of human form. Outstanding piece. 3000 – 1450 BC. Measures 10.5″/26,67 cm in height by 3.5”/8,89 cm wide respectively.
Provenance: Collection of the Landazuri Family Estate, New York, NY
Price 16,800
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases