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
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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
Inca Capacocha Spondylus Miniature Effigy
A charming miniature Capacocha female effigy. They were made from the cherished orange Spondylus shell. They would have been covered in clothing and placed with the sacrificial child as an offering to the god. Nicely detailed throughout. Ca. 1400 AD. Height is 1.75″ / 4.44 cm—excellent condition with deposits.
Displayed on custom wood pedestal. Overall height is 5”/12.7 cm on stand.
Provenance: Ex M. Schmitt – Amiguet’s Ancient Art. Ex-Private California collection
Price $1,245
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Chancay Funerary Doll False Head
An outstanding Chancay funerary doll with a false head. It is finely made and unrivaled in size. It is composed of wrapped reeds, sticks, and vegetal fibers. The head is a wooden plank painted red, and the eyes are diamond-shaped in white with a separated nose in brown. Wears a yarn wig woven textile headdress embroidered with spiritual serpents. Gauze tunic and textile apron garment. Holds a textile bag with both hands, containing a large string ball. Measures 20″/50.80 cm in length. Extremely Rare. Chancay Valley of central Peru. Ca. 1000 – 1250 A.D.
Ex. Hunt Fine Arts, NYC.
The majority of these dolls have been found in graves. Presumably, it was not intended as toys but to serve the dead.
Price $5,200
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Regional Division of Pre-Columbian Americas’ Major Archaeological Cultural Phases
Costa Rican Stone Sukia
This finely crafted small sculpture, carved from rough volcanic stone, depicts a seated nude Sukia medicine man from the Guapiles region of Costa Rica. From 1000 to 1500 AD, this piece showcases the artistry and cultural significance of the region’s ancient inhabitants. The medicine man sits with arms crossed, a pose that likely held symbolic meaning, perhaps representing a figure of wisdom or authority within the community.
Despite its compact size, just under 5 inches tall, the sculpture captures remarkable detail, particularly in the finely rendered facial features. The artist’s skill is evident in the careful attention given to the expression and posture, which convey a sense of calm and introspection. The small platform on which the figure is seated adds to its stability and presence, making it a striking piece despite its modest dimensions.
The sculpture has sustained some damage to the front of both feet, likely during antiquity, which adds to its historical narrative. However, this minor wear is separate from the overall condition of the piece, which remains excellent. The slight imperfections only enhance its authenticity, serving as a reminder of its journey through centuries.
As an artifact, this Sukia sculpture offers a glimpse into the spiritual and social practices of the Guapiles region during the pre-Columbian era. It is a testament to the skill and cultural depth of the ancient artisans who created it. This piece would be valuable to any ancient art collection, offering historical significance and artistic beauty.
Price $695
Atlantic Watershed Standing Stone Figure
This impressive sculpture represents a standing nude woman, meticulously carved from rough volcanic coarse basalt stone. Originating from the Atlantic Watershed, Linea Vieja region of Costa Rica, dating from around 300 B.C. to 300 A.D., this piece is a remarkable example of early pre-Columbian artistry. The figure stands solidly on her wide feet, exuding a sense of stability and presence. Her posture, with both hands supporting her breasts, symbolizes fertility, a common theme in ancient art that underscores the cultural significance of womanhood and reproduction.
The figure’s coiffure, a lengthy and straight hairstyle that falls gracefully to her waist, adds a refined touch to the otherwise rugged material. This careful attention to detail suggests that the artist focused on the symbolic aspects and aimed to capture the elegance and beauty of the female form. The artist carved the piece in the round, making it fully three-dimensional and allowing it to be appreciated from any angle, which enhances its overall impact as a stand-alone work of art.
Standing at a substantial 16 inches in height, this sculpture is hefty and commanding. Its fine-to-change condition speaks to the quality of the basalt stone and the craftsmanship involved in its creation. Despite its age, the sculpture has retained its integrity and continues to convey its time’s cultural and spiritual values.
This artifact would make a significant addition to any collection. It offers a glimpse into ancient Costa Rican society and serves as a powerful symbol of fertility and womanhood. Its size, condition, and historical importance make it a valuable and visually striking piece of pre-Columbian art.
Price $1,850