Atlantic Watershed Jade Figure-Celt Pendant - PF.3158, Origin: Eastern Costa Rica, Circa: 100 AD to 500 AD, Catalogue: V15, Collection: Pre-Columbian, Style: Atlantic  More »

Atlantic Watershed Jade Figure-Celt Pendant - PF.3158, Origin: Eastern Costa Rica, Circa: 100 AD to 500 AD, Catalogue: V15, Collection: Pre-Columbian, Style: Atlantic Watershed, Medium: Jade. Skillful carving and drilling techniques distinguish this lustrous jade pendant. It is an exceptional representation of an Axe-God pendant from Costa Rica. This unusually large pendant depicts a human figure portrayed as an Axe-God who is probably a shaman or chieftain - shaman with high political as well as religious status. This Celt like pendant symbolically represents a functional polished celt that was used as a forest-clearing tool, which is associated with agriculture. The relative degree of "humanness" or "birdness" is highly variable concerning the arms or "wings" of this pendant. The "wings" may represent the harpy eagle, which may have been chosen as a symbol of strength and nobility among birds. These birds are high-soaring species, and it is possible that they were viewed as emissaries, the all-seeing "eyes and ears" of the shaman-eagle. The legs are indicated by only triangular and rectangular incisions. The artist tackling the hard material by defining planes, cutting out and sawing grooves, created this remarkable work of art. A mask that is adorned with a cap incised with arrows covers the head. The bulbous cheeks and large triangular nose are fascinating features and remain an enigma. Turn the pendant to its back and we are faced with another enigma: an incised “X.” This must be an important symbol both politically and religiously. There are drilled holes for suspension. Although the precise meaning of this exceptional lapidary work of art is as yet unclear, the fine artistry of this pendant clearly represents a highly sophisticated and flourishing culture in Ancient Costa Rica. A culture whose art appeases our thirst for beauty and innovation and lingers in our minds with awe and wonder.   « Less

Ameca-Ezatlán Style Jalisco Terracotta Sculpture of a Hunchback - PF.3193, Origin: Jalisco, Mexico, Circa: 300 BC to 300 AD, Dimensions: 8.75" (22.2cm) high x 7.25"  More »

Ameca-Ezatlán Style Jalisco Terracotta Sculpture of a Hunchback - PF.3193, Origin: Jalisco, Mexico, Circa: 300 BC to 300 AD, Dimensions: 8.75" (22.2cm) high x 7.25" (18.4cm) wide, Collection: Pre-Columbian, Style: Ameca-Ezatlán, Medium: Terracotta. Ameca-Ezatlán is a fine quality ware as seen in this magnificent sculpture of the notorious Mesoamerican hunchback. It is well polished and lustrous, and reveals a cream or light brown slip. The nose is long and thin, the mouth is wide and smiling, and the large eyes are made with applied pieces of clay. The powerful shape of the back emphasizes the voluptuous form of the well-proportioned body. He is caught in action with offerings held in both hands aided by the support of his back and shoulders. One offering is a bowl, which may have held provisions at one time, while the other is some form of a gourd with a hole in the center. Hunchbacks were revered as shamans with special healing and supernatural powers in Mesoamerica. Here, he is most probably depicted as the bearer of offerings to any number of the ancient deities that were worshipped. Perceived as having the power to appease the deities, this hunchback was the center of attention in the community where he once lived, and now becomes an eternal center of attention of our innumerable conversations and bewilderment of his bizarre, yet captivating beauty.   « Less

Ixtlán del Rio Style Nayarit Terracotta Sculpture of a Seated Woman Holding a Bowl - PF.3194, Origin: Nayarit, Mexico, Circa: 100 BC to 250 AD, Dimensions: 14.5" (36.8cm)  More »

Ixtlán del Rio Style Nayarit Terracotta Sculpture of a Seated Woman Holding a Bowl - PF.3194, Origin: Nayarit, Mexico, Circa: 100 BC to 250 AD, Dimensions: 14.5" (36.8cm) high x 10.5" (26.7cm) wide, Catalogue: V15, Collection: Pre-Columbian, Style: Ixtlán del Rio, Medium: Terracotta. Holding a small offering cup in her hand, this special lady looks as though she is prepared for a celebration. She wears boldly patterned garments in ochre, cream and black against a reddish brown base color. Multiple nose and ear ornaments adorn her youthful face and bracelets lay high on her delicate arms. Her expression is relaxed with her lips parted showing white teeth. "Have I arrived on time?" she inquires. Such as silly question she asks. Her whimsical oval eyes reveal her innocent importance. She knows the celebration could never start without her delightful presence.   « Less

Ixtlán del Rio Style Nayarit Terracotta Sculpture of a Seated Man Holding a Ball - PF.3195, Origin: Nayarit, Mexico, Circa: 100 BC to 250 AD, Dimensions: 14.5" (36.8cm)  More »

Ixtlán del Rio Style Nayarit Terracotta Sculpture of a Seated Man Holding a Ball - PF.3195, Origin: Nayarit, Mexico, Circa: 100 BC to 250 AD, Dimensions: 14.5" (36.8cm) high x 10.5" (26.7cm) wide, Catalogue: V15, Collection: Pre-Columbian, Style: Ixtlán del Rio, Medium: Terracotta. Holding a ball in one hand and a cylinder in the other, this fine young gentleman looks as though he is aware of his importance in the world. He wears boldly patterned garments in ochre, cream and black against a reddish brown base color. Multiple nose and ear ornaments adorn his youthful face and bracelets lay high on his slender arms. His expression is eager with anticipation of the upcoming events. With his lips parted showing white teeth, he solemnly declares, "Let the celebration begin!" He is ready to take part in the ritual activities he has looked forward to all year.   « Less

Mayan Carved Bowl - PF.3201, Origin: Guatemala, Circa: 500 AD to 900 AD, Dimensions: 5.5" (14.0cm) high, Collection: Pre-Columbian, Style: Mayan, Medium: Terracotta.  More »

Mayan Carved Bowl - PF.3201, Origin: Guatemala, Circa: 500 AD to 900 AD, Dimensions: 5.5" (14.0cm) high, Collection: Pre-Columbian, Style: Mayan, Medium: Terracotta. Conveyers of cultural information as well as beautiful objects in their own right, Mayan art, such as this extraordinary carved ceramic bowl, are imbued with a power and spirit that is truly remarkable. Although the glyphic language of Mayan art is relatively foreign to us, it nevertheless conveys incredible messages to our senses. In this carved Mayan bowl, we experience not only the visual beauty of the designs that surround the outer surface of the bowl, but also the tactile sensation of the glyphs’ raised relief. A further addition to the beauty of this bowl can be seen in the dramatic display of polychrome color on the raised glyphs and the use of resist, or negative-painted, swirling decoration on the bottom. Along with the very rare and special thinness to this bowl, this striking masterpiece of Mayan art communicates powerfully with the modern world, while at the same time transmitting the refined artistic life of the ancient Maya in all its fascinating detail.   « Less

Galo Polychrome Seated Female Figure - PF.3218, Origin: Costa Rica (Guanacaste), Circa: 500 AD to 800 AD, Dimensions: 11.5" (29.2cm) high, Catalogue: V15, Collection:  More »

Galo Polychrome Seated Female Figure - PF.3218, Origin: Costa Rica (Guanacaste), Circa: 500 AD to 800 AD, Dimensions: 11.5" (29.2cm) high, Catalogue: V15, Collection: Pre-Columbian, Medium: Terracotta. "Looking back so many thousands of years, it seems as if humanity's first image of life was the mother. This must go back to a time when human beings experienced themselves as the children of nature, in relationship with all things, part of the whole." (Baring and Cashford, The Myth of the Goddess) Baring and Cashford are referring to the oldest sculpture of a Goddess, from about 22,000 B.C. from Brassempouy in the Landes area of France. They also state, "It is not surprising that these images of the Goddess appear throughout history, for they all express a similar vision of life on earth, one where the creative source of life is conceived in the image of a mother and where humanity feels itself and the rest of creation to be the mother's children." This beautiful female who sits before us may be a representation of a 'Mother Goddess,' as well. The lines etched around the outside of her breasts and the designs surrounding them direct attention to the sacred source. The center focus is directed to the nourishment of the flowing breast. The central theme of nourishment is all- inclusive. The shape of her full breasts and the swelling curves of her hips with the hole for the belly button, all emphasize the feeling of fecundity. A distinct division of her legs open at the entrance to the womb. The rippling movement of water painted above her womb suggests the source of the vegetative world and also of the waters of life. The geometric designs covering her voluptuous body may symbolize the sacred way of approach to a dimension invisible to human senses. "All these form an enduring constellation of images related to the figure of the Goddess, for they symbolize the intricate pathway that connects the visible world to the invisible, of the kind that souls of the dead would have taken to re-enter the womb of the Mother." (Baring and Cashford) The mouth is a peculiar part of this remarkable figure. Could this be an egg? The egg is also related to water as the primordial element in which life gestates. The egg and the womb are both images of the beginning of life. If she represents the mythical image from which creation emerged, she is surely one of the most beautiful goddesses in the enchanted world of fertility and birth.   « Less

Polychrome Effigy Sculpture - PF.3253, Origin: Costa Rica, Circa: 800 AD to 1200 th Century AD, Dimensions: 13.25" (33.7cm) high, Catalogue: V15, Collection: Pre-Columbian,  More »

Polychrome Effigy Sculpture - PF.3253, Origin: Costa Rica, Circa: 800 AD to 1200 th Century AD, Dimensions: 13.25" (33.7cm) high, Catalogue: V15, Collection: Pre-Columbian, Medium: Terracotta. This marvelous polychrome sculpture depicts a female in sitting position with her hands on her hips. The surface of the sculpture seems to radiate with its Ancient beauty and gorgeous colors. The orange slipped surface painted with dark red and black is quite elegant. The body is decorated with intricate geometric patterns, and her flat, rectangular face makes a charming impression. Its large almond-shaped eyes stare at the viewer piercingly, and the closed, thin slit mouth seems to hold some secret wisdom. Such a beautiful sculpture of a voluptuous woman was most likely used in significant rituals or ceremonies. The figure's breasts are emphasized with painted patterns and her hips and thighs are exaggerated to symbolize fertility. The idea of fertility and birth was extremely important to Ancient Costa Ricans. Many ritual themes involved wishes for fertility and prosperity for humans and also for nature, upon which humans depended. Wearing a beautiful belt and sitting with regal posture, this figure perhaps symbolizes a woman of significance-- a mother goddess or a priestess. As we look at this marvelous sculpture, we not only admire its aesthetic beauty, but also the rich history it embodies.   « Less

Mayan Deity/Shaman Rattle - PF.3263, Origin: Guatemala, Circa: 500 AD to 900 AD, Dimensions: 7" (17.8cm) high, Collection: Pre-Columbian, Style: Mayan, Medium: Terracotta.  More »

Mayan Deity/Shaman Rattle - PF.3263, Origin: Guatemala, Circa: 500 AD to 900 AD, Dimensions: 7" (17.8cm) high, Collection: Pre-Columbian, Style: Mayan, Medium: Terracotta. This magnificent clay sculpture of a standing man presents us with the precious clues of an Ancient culture that flourished more than a thousand years ago. Skillfully burnished, this sculpture has a rich, earthy color. The exquisite details depicted in this sculpture delight our eyes, while giving us clues about the significance of this person. He represents either a shaman, a magic man, an intermediary between our world and the spiritual world; or a deity, worshipped and adored as a god. In either case, he is a very important symbol in his community. This rattle was probably used in ceremonies of ritual worship for this person. Adorned with bodily decorations, this person is revealed as a deity. He wears a headdress made of a reptile-like animal. He also has ear spools, a necklace, and scarification. His bold face, with closed eyes and open mouth, reveals that he has a secret to keep. Every feature of this figure is skillfully and attentively sculpted. As we look upon this figure, we can feel the Ancient spirits and hands that sculpted it so lovingly.   « Less

Mayan Tall Cylindrical Vessel - PF.3264, Origin: San Salvador, El Salvador, Circa: 550 AD to 850 AD, Dimensions: 9.25" (23.5cm) high, Catalogue: V24, Collection:  More »

Mayan Tall Cylindrical Vessel - PF.3264, Origin: San Salvador, El Salvador, Circa: 550 AD to 850 AD, Dimensions: 9.25" (23.5cm) high, Catalogue: V24, Collection: Pre-Columbian, Style: Mayan, Medium: Terracotta. As brilliant as a setting sun, the warm hues of orange, red and brown painted on this vessel embrace our hearts and minds. The profile of a royal Maya female graces the center stage of the pictorial space. She is adorned with all the luxury of the ancient royal world with her necklace, ear spools, garment and headdress. She is holding something special in her band. She appears to look above her at the flower which protrudes directly forward from her high headdress. The petals of the flower have two scroll lines swirling forth from it on one side. The reverse side represents the same subject, but the petals of the flower have only one scroll line swirling forth from it. Everything else remains the same. The significance of this difference is an enigma. What is she doing? Could this beautiful vessel scene depict a pivotal point in an ancient Maya story? This idea is similar to the scenes depicted on ancient Greek vases from the Odyssey. There are three large glyph signs that run clown the length of the vessel. These glyph signs are similar to but not precisely the same as the glyph sign for sun. Underneath our intriguing royal Maya female is an "x" with clashes of color in between the triangles. The border encircling the top of the vessel bas repeated glyph signs. We are drawn again and again through this eloquent composition, charged with the rhythmic energy of color and the tangible history which rests in our hands.   « Less

Olmec Terracotta Sculpture of a Seated Baby - PF.3283, Origin: Mexico, Circa: 1000 BC to 500 BC, Dimensions: 11.625" (29.5cm) high, Catalogue: V20, Collection: Pre-Columbian,  More »

Olmec Terracotta Sculpture of a Seated Baby - PF.3283, Origin: Mexico, Circa: 1000 BC to 500 BC, Dimensions: 11.625" (29.5cm) high, Catalogue: V20, Collection: Pre-Columbian, Style: Olmec, Medium: Terracotta. As is typical of this type of figure, the legs are spread wide apart with the hands placed firmly on the knees. The chest reveals subtle breasts, the torso is slim and shoulders broad. In keeping with the overall fine harmony of form, the head is beautifully modelled with a high forehead, long ears, eyes slanting slightly downwards, and a fairly large nose to balance the full lips. Though referred to as 'baby' figures because of the pose, this particular sculpture reveals a maturity in the expression, with eyes staring boldly at us touched by a hint of humor continued in the gentle curve of the mouth. And though the body reveals aspects of 'voluptuous' baby fat, there is nonetheless a masculine power in the limbs. This duality is characteristic of Olmec art, where much is expressed in basically simple forms, signifying depth of thought and considerable artistic skill.   « Less