Olmec Terracotta Hunchback Figurine - PF.4546, Origin: Mexico, Circa: 900 BC to 500 BC, Dimensions: 1.5" (3.8cm) high, Collection: Pre-Columbian, Style: Olmec, Medium:  More »

Olmec Terracotta Hunchback Figurine - PF.4546, Origin: Mexico, Circa: 900 BC to 500 BC, Dimensions: 1.5" (3.8cm) high, Collection: Pre-Columbian, Style: Olmec, Medium: Terracotta.   « Less

Olmec Greenstone Standing Figure - PF.4791, Origin: Mexico, Circa: 1000 BC to 500 BC, Dimensions: 4.75" (12.1cm) high x 2.25" (5.7cm) wide, Collection: Pre-Columbian, Style:  More »

Olmec Greenstone Standing Figure - PF.4791, Origin: Mexico, Circa: 1000 BC to 500 BC, Dimensions: 4.75" (12.1cm) high x 2.25" (5.7cm) wide, Collection: Pre-Columbian, Style: Olmec, Medium: Greenstone. It has been speculated that such figures as this marvelous sculpture represent an individual in standing meditation. The perfect balance achieved in the body, with the legs set firmly and arms hanging down with a slight bend at the elbows, strengthens this supposition. Though the facial features of the trapezoidal upper lip, broad cheeks and narrow slanting forehead are characteristic of Olmec style, the particular expression of this man suggests he is in a trance. The sharp angular direction of the eyebrows further indicates intense concentration. Olmec sculptures are well known for their economy of line and elimination of extraneous detail. An example of this is seen in the beautiful loincloth shaped like a spear point or bolt of lightening; it is masculine in form and also an exquisite geometric device contrasting with the soft curves of the body. The power of this figure is immense, and reminds us in a graphic way of the many mysteries that surround us.   « Less

Olmec Pointed Stone Pectoral - PF.5589, Origin: Mexico, Circa: 900 BC to 600 BC, Dimensions: 6.75" (17.1cm) high, Collection: Pre-Columbian, Style: Olmec, Medium: Stone.  More »

Olmec Pointed Stone Pectoral - PF.5589, Origin: Mexico, Circa: 900 BC to 600 BC, Dimensions: 6.75" (17.1cm) high, Collection: Pre-Columbian, Style: Olmec, Medium: Stone. Carved to resemble a hybrid snake/bird, this mysterious pendant most likely belonged to a shaman, the religious and spiritual guides of ancient Mesoamerican cultures. What was it used for? Perhaps ceremonial or ritual purposes. The holes perforated into the sides of the carving, just before it tapers off into a point, would have allowed it to be worn as a pendant or pectoral. The shaman kept this device close to him, attesting to its worth and importance. The actual piece is an extraordinary example of the artistic achievements of the Olmec civilization. The smooth stone is finely polished and the handle fits comfortably into our palm. The inscribed decorative carvings on the handle are abstract symbols of geometric patterns that can be dually interpreted as both aviary and serpentine. The composite creation of mythological creatures was a common phenomenon in Pre-Columbian religious beliefs. Above all, this outstanding object represents a link to the mysteries of the past. The shaman was probably the only individual who was aware of its true powers.   « Less

Tlatilco Sculpture of an Acrobat - PF.4985, Origin: Central Mexico, Circa: 900 BC to 500 BC, Dimensions: 2.75" (7.0cm) depth, Collection: Pre-Columbian Art, Style: Tlatilco,  More »

Tlatilco Sculpture of an Acrobat - PF.4985, Origin: Central Mexico, Circa: 900 BC to 500 BC, Dimensions: 2.75" (7.0cm) depth, Collection: Pre-Columbian Art, Style: Tlatilco, Medium: Terracotta. Depiction of acrobats in clay has a long tradition in Mexican art. The figures are usually quite small, as in the case of this delightful example, and often possess considerable charm. Certainly, the Meso-Americans were renowned for their elaborate festivals that included musicians, dancers and acrobats. There is no doubt the latter group were capable of extraordinary physical contortions; as with this fellow, twisting his body into a near perfect circle so his feet rest comfortably either side of his head. His hands too curl upwards with amazing agility just below the feet. Mexican artists practiced considerable realism, not allowing much abstraction to influence their art. The face on this acrobat is very expressive with a long, hooked nose, almond eyes, slightly parted mouth, and earspools. His expression is of complete calm and relaxation in the manner of Indian contortionists. From whatever angle this figure is viewed he radiates a sense of joy, and is a vivid reminder of the more festive aspect of Mesoamerican life.   « Less

Olmec Stone Celt - PF.5097, Origin: Mexico, Circa: 900 BC to 500 BC, Dimensions: 10.5" (26.7cm) high, Collection: Pre-Columbian Art, Style: Olmec, Medium: Stone.

Olmec Stone Celt - PF.5097, Origin: Mexico, Circa: 900 BC to 500 BC, Dimensions: 10.5" (26.7cm) high, Collection: Pre-Columbian Art, Style: Olmec, Medium: Stone.   « Less

Olmecoid Terracotta Vessel - PF.6262, Origin: Mexico, Circa: 900 BC to 600 BC, Dimensions: 8.5" (21.6cm) high, Collection: Pre-Columbian, Style: Olmec, Medium: Terracotta.

Olmecoid Terracotta Vessel - PF.6262, Origin: Mexico, Circa: 900 BC to 600 BC, Dimensions: 8.5" (21.6cm) high, Collection: Pre-Columbian, Style: Olmec, Medium: Terracotta.   « Less

Olmec Stone Sculpture of a Seated Figure - PF.6261, Origin: Mexico, Circa: 900 BC to 300 BC, Dimensions: 5.75" (14.6cm) high, Collection: Pre-Columbian, Style: Olmec, Medium:  More »

Olmec Stone Sculpture of a Seated Figure - PF.6261, Origin: Mexico, Circa: 900 BC to 300 BC, Dimensions: 5.75" (14.6cm) high, Collection: Pre-Columbian, Style: Olmec, Medium: Stone.   « Less

Olmec Sculptural Fragment of a Head - PF.6260, Origin: Mexico, Circa: 900 BC to 300 BC, Dimensions: 2.125" (5.4cm) high, Collection: Pre-Columbian, Style: Olmec, Medium:  More »

Olmec Sculptural Fragment of a Head - PF.6260, Origin: Mexico, Circa: 900 BC to 300 BC, Dimensions: 2.125" (5.4cm) high, Collection: Pre-Columbian, Style: Olmec, Medium: Terracotta. Considered to be the mother culture of Mesoamerican civilizations, the Olmec ruled a vast empire covering much of southern Mexico from around 1300-400 B.C. Today, they are famed for their colossal heads, giant sculptures that first alerted scholars to their existence in the latter half of the 19th Century. Scholars continue to debate whether these monumental sculptures depict the heads of rulers and kings or decapitated sacrificial victims. Thus, when the meaning of the most well-known monuments of the Olmec culture is open to debate, little can be known for sure about these mysterious people. The narrow, slanted eyes are characteristic of Olmec art. The down-turned mouth is a type known as the “were-jaguar,” thought by scholars to depict a shaman in the midst of transmogrification. Sometimes Olmec figures combine the facial features of this “were- jaguar” type with the fleshy cheeks of a human child. This small fragment of a head is but a portion of a larger sculpture. The greater meaning of the work would have been aided by the presence of a body. However, as it is, we can view this work as a miniature colossal head that symbolizes the artistry, magic, and mystery of this ancient civilization. As great civilizations rise and fall, they leave behind traces of their existence. Ritualistic objects, venerated in their own time, continue to exert an eternal force long after they have left the hands that once held them sacred. A mysterious energy still radiates from the core of this small head, a testament to the artistry and culture of the ancient Olmec civilization.   « Less

Olmec Sculptural Fragment of a Head - PF.6259, Origin: Mexico, Circa: 900 BC to 300 BC, Dimensions: 1.875" (4.8cm) high, Collection: Pre-Columbian, Style: Olmec, Medium:  More »

Olmec Sculptural Fragment of a Head - PF.6259, Origin: Mexico, Circa: 900 BC to 300 BC, Dimensions: 1.875" (4.8cm) high, Collection: Pre-Columbian, Style: Olmec, Medium: Terracotta. Considered to be the mother culture of Mesoamerican civilizations, the Olmec ruled a vast empire covering much of southern Mexico from around 1300-400 B.C. Today, they are famed for their colossal heads, giant sculptures that first alerted scholars to their existence in the latter half of the 19th Century. Scholars continue to debate whether these monumental sculptures depict the heads of rulers and kings or decapitated sacrificial victims. Thus, when the meaning of the most well-known monuments of the Olmec culture is open to debate, little can be known for sure about these mysterious people. The narrow, slanted eyes are characteristic of Olmec art. The down-turned mouth is a type known as the “were-jaguar,” thought by scholars to depict a shaman in the midst of transmogrification. Sometimes Olmec figures combine the facial features of this “were- jaguar” type with the fleshy cheeks of a human child. This small fragment of a head is but a portion of a larger sculpture. The greater meaning of the work would have been aided by the presence of a body. However, as it is, we can view this work as a miniature colossal head that symbolizes the artistry, magic, and mystery of this ancient civilization. As great civilizations rise and fall, they leave behind traces of their existence. Ritualistic objects, venerated in their own time, continue to exert an eternal force long after they have left the hands that once held them sacred. A mysterious energy still radiates from the core of this small head, a testament to the artistry and culture of the ancient Olmec civilization.   « Less

Olmecoid Sculpture of a Woman - PF.5415, Origin: Morelos, Mexico, Circa: 900 BC to 500 BC, Dimensions: 8" (20.3cm) high, Collection: Pre-Columbian, Style: Olmecoid, Medium:  More »

Olmecoid Sculpture of a Woman - PF.5415, Origin: Morelos, Mexico, Circa: 900 BC to 500 BC, Dimensions: 8" (20.3cm) high, Collection: Pre-Columbian, Style: Olmecoid, Medium: Terracotta. Since the dawn of civilization, mankind has manipulated the environment, reforming the natural materials into new forms. While tool making answered functional necessities, the creation of art filled a spiritual void. Some of the earliest works of art known to us are fertility goddesses whose overflowing bodies accentuate their fecundity. When mankind was just beginning to comprehend its own existence, and to secure its continued prosperity, fertility idols help assure worried minds that they could secure their well-being through the reverence of the gods memorialized by the sculptures. This terracotta goddess, associated with the Olmec civilization, the earliest mother culture of Mesoamerica, is one such idol. The general forms of the sculpture, especially the slanted, narrow eyes, are clearly derived from Olmec art. We can imagine some ancient Mesoamerican honoring this work with libations of food and drink. In turn, the goddess would bestow fertility upon her faithful servant. If the worshipper is already pregnant, such a work can help ensure a healthy birth without complications. Today, this work harkens back to an earlier time when mankind’s understanding of the world was outweighed by superstitions and fear of the gods. This goddess is a memorial to an ancient culture and a forgotten world.   « Less