Peru, Chavin Cupisnique Style Stirrup spout Vessel Decorated with a Harpy Eagle.
Period: Peru, Chavïn, Cupisnique, Middle Phase, North Coast, circa 1200-800BC
Media: Ceramic
Dimensions: Height: 8"
Price Upon Request
n2067
Peru, Miniature Tunic with Fish Appliques
This rare small tunic was made for a child or perhaps a doll. The silver fish are individually crafted - cutout with repousse details. The fish are attached with the original thread, through holes in the fish, and are applied to both the front and back of the tunic. The Metropolitan Museum of Art in New York possesses a similar miniature tunic, pair of shoes, and coca bag, all made in the same style using textiles with square-shaped silver appliques. These items, along with a larger textile, are illustrated in the Textile Museum's publication Costumes and Featherwork of the Lords of Chimor, figs. 148, 167,168.
Period: Peru, Chimu, Central Coast, c. AD 900 - 1350
Media: Textile
Dimensions: Width: 7" x Length: 13 1/2"
$2,500
91201A
Peru, Stirrup Spout Vessel Depicting a Scallop
This elegant vessel is modeled after the Argopectin purpuratus (the Peruvian calico scallop). It is decorated with swirling painted stripes in brown slip on a cream ground and is a typical example of Moche realism. During El Niño events, bivalves proliferate along the coast; scallops are the most abundant species. The bivalves, in turn, attract octopi, which feed almost exclusively on these mollusks. Octopi are a frequent theme in Moche art. A similar example of a stirrup spout vessel in the form of a bivalve shell is illustrated in The Spirit of Ancient Peru: Treasures from the Museo Arqueologico Rafael Larco Herrera, edited by Kathleen Berrin (1997: fig. 41).
Period: Peru, Moche II, North Coast, c. AD 200 - 350
Media: Ceramic
Dimensions: Height 7"
Price Upon Request
95065
Peru, 25 Proto-Nasca Knitted Miniature Faces in Blue, Green, Pink, Red and Yellow
The faces were from a fancy fringe, made using the cross-loop needle stitch. Each face has two or more colors. They may have represented trophy heads, or perhaps were used as totems guard against evil spirits. Houston private collection, prior to 1980.
Period: Peru, Proto-Nasca, South Coast, c. 100 BC - AD 200
Media: Textile
Dimensions: Mounted in a shadow Box 10" x 11"
$1,500
p2039
Peru, A Rare Recuay Gilt Scepter
This scepter is very rare with an unusual motif of three animals standing on three flayed feline skins. The central animal is a deer flanked by an unknown four-legged animal. The shaft of the scepter has two channels attached by a series of triangular soldered stock. Each channel has a suspension hole towards the top. This scepter must have belonged to a high status individual as its manufacture is very elaborate and technically sophisticated. Only one other known similar Recuay scepter is illustrated in Kultur Von Peru by Max Schmidt, pg. 392. The accompanying two tupus with decorated tops (longer and shorter) each have a different motif.
The longer tupu is decorated with a band of four stooping animals in low relief, each with a serpent emanating from its head. The inside of the the longer tupu’s upper cup is decorated with a frowning face, perhaps a mask. This is one of the largest known intact tupus. The smaller tupu has a rich gilt surface and is decorated with a band of two face masks. Inside the upper cup of the small tupu is the head of the same animal flanking the deer on the scepter. Both tupus have finials that are decorated with both an outside band and an inside head. The larger one has a band of 3 double headed serpents with a fox head inside. The smaller one has a band of a double-headed arched feline and a face inside.
Four tupus excavated at Pashash, the earliest known Recuay site, are illustrated in The Art and Archaeology of PSAHASH by Terence Grieder, figs. 114-117, and fig. 7. These tupus were originally sold by Alan Lapiner in the early 1970s along with a classic Recuay vessel of a lord flanked by arched felines on each side.
Period: Peru, Recuay, North Highlands, c. 300 BC - AD 700
Media: Metal
Dimensions: Scepter Length 9" x Width 3"
Longer Tupu Length 8 ½ x diameter 1 ½â€
Shorter tupu: Length: 7 ½†x diameter 1"
Price Upon Request
M3023
Peru, Central Coast Peruvian Wood Ear Spools
Probably late Huari or early Chancay, these light balsa wood ear spool carved in three sections, depicting a face, body and back. The design is cut out, with four rows of birds in profile – generally typical of Chancay or Chimu art. No glue or tree resin was used to keep the three sections together, rather they are carved perfectly to have a precise fit. Ear spools were used in the ancient Andes to display status and rank. Ex. Daniel Rifkin, acquired in New York prior to 1980.
Period: Peru, Wari, Central Coast, c. AD 650 - 1100
Media: Wood
Dimensions: Diameter: 3" x Depth: 4 1/2"
Price Upon Request
M4011
Peru, Chancay Double-Chambered Whistling Vessel with Animal Impersonator
The Chancay people were known for their ceramic workshops, where series of similar items were produced in groups. This bridge-spout vessel has two chambers and is painted with alternating straight and wavy lines. The figure sitting atop the vessel is an Animal Impersonator of a monkey. “Animal Impersonator†is a term used by Pre-Colombian scholars to refer to a shaman who dresses as a certain animal to embody the mythological characteristics associated with that animal. Monkeys, who dwell at the top of the forest canopy in the Amazon, are associated with ancestral secrets in Andean mythology. This shaman has a hairstyle arranged in two coils to resemble monkey ears, as well as white ear spools. He is hunched over and holds a weaving in his arms.
This vessel may have been used to pour a psychoactive brew as part of a shamanic rite. When brew was poured, the air moved from one chamber to the other, creating a whistling sound. The tone of the whistle was created by the specific shape of the resonance cavity. Whistling sounds would have enhanced the shamanic ritual. According to author Daniel K. Stat’s article Ancient Sounds: The Whistling Vessels of Peru, “the psycho-acoustical effects appear to be created by low frequencies or difference tones, or possibly the interaction of harmonic principles, which are produced when several vessels from a specific culture are played simultaneously.â€
This vessel would also have been intended for its owner for use in the afterlife.
Period: Peru, Chancay, Central Coast, c. 900 - 1300
Media: Ceramic
Dimensions: Height: 10 1/2" x Width: 7"
$1,400
n9047
Peru, Chancay Fringed Tapestry Border with Cats and Birds
This was likely the border of a tunic and was made as two loom widths sewn together with an additional fringe sewn horizontally. The design of cats and birds alternating in angled bands is bordered above and below with rows of additional small birds. It is unusual to see such red and gold highlights dyed on cotton.
Period: Peru, Chancay, Central Coast, c. AD 1100 - 1430
Media: Textile
Dimensions: Width: 37" Height: 9"
$2,200
94277
Peru, Chancay House with Seated Man in Two Toom Interior
This ceramic piece represents the interior of a house. The inside is divided into two alcoves. One alcove is enclosed on three sides, with a crosshatch pattern on the exterior, and the other is open to expose a seated man facing outward. He sits with an open vessel in front of him. The two outside walls are higher than the ones inside.
Period: Peru, Chancay, Central Coast, circa AD1100- 430
Media: Ceramic
Dimensions: Length, 7 2/8 in, width 4 12/16 in, height 4 in.
Price Upon Request
92237
Peru, Chancay Painted Cotton Panel with Four Abstract Figures and Symbols
The cotton panel is painted in blue, tan and orange. The drawing can be interpreted as 3 woven panels or tunics with fringes, each decorated with different abstract designs. On each side of the central panel are two abstract creatures with curly tails on an orange ground.
Period: Peru, Chancay, Central Coast, c. AD 900 - 1500
Media: Textile
Dimensions: Length: 46" x Width: 23"
$7,500
n6056h
Peru, Chancay stamped decorated woven panel
The decoration is a combination of resist dying and then stamped design. There are over 7 different motifs all arranged in diagonal patterns.
Period: Peru, Chancay, Central Coast, c. AD 1100 - 1430
Media: Textile
Dimensions: Length: 15'(180") x Width: 4'(48")
$15,000
N2027
Peru, Chancay Weaver's Basket with Implements
This is a large basket, made of woven rush and contains 40 spindle whorls with different color arrangements. 18 with yellow and orange notched ceramic whorls, 8 with white, yellow and orange whorls, and 8 with spun cotton thread. There are 2 whorls with circles and 4 with polka dot designs. There are 2 copper needles, cotton samples, and a bone flute.
Period: Peru, Chancay, Central Coast, circa AD1100- 430
Media: Textile
Dimensions: Length 16" x Width 5" x Height 3 1/2"
Condition: Very good, as found with the original contents
Price Upon Request
N1043
Peru, Chavin Carved Bone Spatula with Incised Morphed Faces
The bone is highly polished all over. The primary figure is a monster with a large mouth, snarly nose, and shell inlaid eye on each side. The body is carved with abstracted motifs. On the lower front side is a profile of the monster's head with a large mouth opening into the bone's joint. A similar example is illustrated in THE INKA EMPIRE AND ITS ANDEAN ORIGINS- pl.30 and is also on exhibit at the American Museum of Natural History, NY.
Period: Peru, Chavin, Cupisnique, Late Phase, North Coast, c. 700 - 400 BC
Media: Bone
Dimensions: Length: 6 1/4" x Wifth at shoulder 1 1/4"
$6,000
94149
Peru, Chavin carved wood effigy of a shaman
Carved wooden effigy of a standing shaman holding a flute or serpent in front. The shaman has puckered lips as if he is whistling and appears in a trance like state. He is wearing a headdress, v neck tunic and belt with two long devices hanging down along the outside of each leg. On the back of the belt is a "U" shaped device of unknown use. From the top of the head emeniates a bone tube which has been broken. A similar shaman's face is illustrated in PRECOLUMBIAN ART OF SOUTH AMERICA by Alan Lapiner fig. 13. Wooden effigy figures are extremely rare and do not survive well. The left leg was broken off and re-attached and the evidence of age was apparent.
Period: Late Chavin, North coast Peru 700-400 B.C.
Media: Wood
Dimensions: Height 9.1/2"
Price Upon Request
95057
Peru, Chavin Ceramic Depicting a Recumbant Jaguar With San Pedro Cactus
On each side of the vessel there is a jaguar lying outside of a structure which is possibly a cave or a temple. A San Pedro Cactus is aside a Strombus shell; both have strong symbolic meaning for the Chavin feline cult. As the largest and the most -feared terrestrial carnivore in the Amazon, the jaguar serves as a natural symbol of raw aggression. Chavin shamans respected the jaguar for its nocturnal hunting skills and its ability to swim and climb into the forest, ruling earth, water and sky as their domain. Literary references of the same motif appear in The British Museum, The American Museum of Natural History, The Munson-Proctor Institute in Utica, and The Larco Herrera Collection at the Museo Nacional de Antropologia y Arqueologia in Lima.
Period: Peru, Chavïn, Cupisnique, Middle Phase, North Coast, circa 1200-800BC
Media: Ceramic
Dimensions: Height 10 3/4"
Price Upon Request
n2059
Peru, Chavin Gold Crown With Embossed Design
Chavin artists hammered gold sheets over wooden molds to make crowns and pectorals for the ruling elite. This crown was cut down and repaired in antiquity, but it originally had two profile faces on the sides and two frontal images of the feline deity so often seen in Chavin art. A cuff from the same grave lot is on display at the Houston Museum of Fine Arts with faces separated by diagonal designs. This crown is published in Jose Antonio Lavalle "Oro Del Antiguo Peru" (1992: pl. 10). Samuel K. Lothrop was the first scholar to analyze gold crowns and plaques that came from two tomb lots in Chongoyape, "Gold Artifacts of Chavin Style" (American Antiquity 1951, 3: 226 - 240). His work and other tomb finds are reviewed by Richar L. Burger in "Chavin and The Origins of Andean Civilization" (1992: 204 - 206) A number of crowns similar to this one are known to have come from these tombs, which also yielded gold cuffs, ear spools, nose pendants, chest plaques and tweezers. Examined and approved by Robert Sonin and Henri Reichlin in 1976. Ex-collection Marcel Ebnother, Switzerland.
Period: Peru, Chavin, North Coast Peru, Late Initial Period, circa 1200-200BC
Media: Metal
Dimensions: Length 11. 1/2" x Height 2"
Price Upon Request
M6075
Peru, Chavin Pair of Gold Ear Ornaments and a Gold Nose Ornament with double chevron
The pair of gold ornaments, each with a double headed serpent with cut-out facial details, suspended by a twisted wire loop, and a suspension plaque dangleA gold nose ornament with cutout design and a central suspension plaque. The single nose ornament has a cut-out design sign in an abstract avian face or that of opposing chevrons, suspended by a twisted gold wire loop. pl. 15.
Period: Peru circa 500-300AD
Media: Metal
Dimensions: Widths 1 1/2 inches each; Width 1 3/4 inches
Price Upon Request
94157
Peru, Chavin Rock Quartz Crystal 24" Necklace
Bi-conically drilled rock quartz crystal necklace with traces of cinnabar. The beads are graduated in size from approximately 9.22 mm to 11.17 mm. They were purchased between 1975 and 1985.
Period: Peru, Chavin, North Coast, circa 400-500BC
Media: Stone
Dimensions: Length: 24" inches
Price Upon Request
94049
Peru, Chavin Stirrup Spout Vessel
This is an early and characteristic vessel from Cupisnique in the north coast of Peru, including the spiral design and comb texturing. A similar one is illustated in Donnan, "Ceramics of Ancient Peru" (1992: 29).
Period: Peru, Chavin, Cupisnique - North Coast of Peru, 1400-500 BC
Media: Ceramic
Dimensions: Height 9"
Price Upon Request
M5044
Peru, Chavin Stirrup Spout Vessel in the Form of an Owl's Head
Owls were revered by Peruvians because of their 180-degree vision, silent flight, and strong claws. Owls were often seen as magical and it was believed that they could transform into shamans. A similar vessel is illustrated in CERAMICS OF ANCIENT PERU by Christopher Donnan in plate 33 on page 28. Ex-collection Dr. Edmund Bourke, Yonkers, NY, prior to 1980s.
Period: Peru, Chavin, Cupisnique, Late Phase, North Coast, c.900 - 200BC
Media: Ceramic
Dimensions: Height: 91/2" x Diameter at base: 5 1/2"
$6,750
p2015
Peru, Chavin Tembladera Style Stirrup Spout Brownware Vessel in the form of an Abstract Animal
Period: Peru, Chavïn, Cupisnique, Middle Phase, North Coast, circa 1200-800BC
Media: Ceramic
Dimensions: Height 9 1/4"
$8,500
n2056
Peru, Chimu Carved Crayfish and Bird Pendants Carved from Spondylus Shells
The pendant on the left depicts a crayfish, while the one on the right represents a marine bird. Crayfish are found in the fresh water rivers along the Peruvian coast. Both pendants have suspension holes for attachment to a bracelet or necklace. Best seen from above, the bird has protruding eyes and a long tail. Both items are the types of Spondylus artifacts that are found on Peruvian North Coast Capa Pacha (child sacrifice ceremony). This is in discussed in PYRAMIDS OF TUCUME- The quest frof the Peru's Forgotten City by Thor Hyerdahl and Daniel Sandweisspg,106-112
Period: Peru, Late Chimu, North Coast, c. AD 1100-1530
Media: Shell
Dimensions: Crayfish Length: 1 3/8"
Bird Length: 1 1/2"
$1,250
N7002
Peru, Chimú Gold 29" Necklace of Large Hollow Beads
The Chimú inherited a taste for hollow gold bead necklaces from their Moche predecessors. In both cultures, each bead was cast and hammered in two halves that were then joined together by soldering. In the Chimú technique, the edges of the two halves were nested together. These beads are extremely light with a greater percentage of silver than gold. They used depletion gilding to bring the gold to the surface by using of heats and salts. This allowed the Chimu to make the gold available for a large and growing ruling class. Private Florida collection prior to 1980.
Period: Peru, Chimu, North Coast, c. AD 900 - 1350
Media: Metal
Dimensions: Necklace Length: 29"; largest bead 2 1/4" diameter - smallest 1 1/2"
$27,000
M7991
Peru, Chimu Gold Cuff with 3 bands of 4 Repousse Stars Each
The cuff has two tie holes. A cuff with a similar star design is illustrated in the Gold Museum of Peru page 127. Ex- collection, Camilla Dietz Bergeron, N.Y.
Period: Peru, Chimu, Early Phase, North Coast, c. AD 900 - 1100
Media: Metal
Dimensions: Height 4 1/2" Weight: 65.5 grams
$10,000
N2064
Peru, Chimu Lost Wax Cast Bronze Finial with Four Warriors
Metal objects that are cast with rings or bells that move to make a sound are known as idiophones. Each warrior wears a loincloth and holds a club in one hand and a shield in the other. Each of the loops around the shaft holds a bell, which when moved, clanks against the shaft.
Period: Peru, Chimu, North Coast, c. AD 900 - 1350
Media: Metal
Dimensions: Height: 2 3/4" x Width: 3:
$5,500
P1038
Peru, Chimú Necklace of Mother of Pearl on Original Cotton Line
There are 50 matched mother-of-pearl elements each with a single suspension hole starting at the top and exiting from the side and sewn on a continuous strand around a double cotton cord. Similar mother-of-pearl tab shaped beads are on a pectoral in the American Museum of Natural History and illustrated in THE INKA EMPIRE AND ITS ANDEAN ORIGINS by Craig Morris, pl 131.
$2,800
m7148
Peru, Chimu Shell Turtle Pendant
This turtle head and carapace have inlays of turquoise and mother of pearl. This is an unusually large shell, carved with double imagery. A human figure appears on the carapace when the pendant is vertical. When horizontal, the shell appears as a turtle, with a small head at the top, and tail and rear flippers at the bottom. From a Private New York collector prior to 1980's. Published in Ocean Fishing in Pre-Columbian Chile and Peru, plate 60.
Period: Peru, Chimu, North Coast, circa AD900-1350
Media: Shell
Dimensions: Height: 3" inches
Condition: As found with original inlays.
$2,900
M8027
Peru, Chimu silver balance with 2 warriors
A rare Chimu silver balance beam decorated with two bag carrying individuals followed by a perched bird. This depiction could explain how the balance beams were used by exchanging feathers of different birds of equal weight. Trade across long distances of exotic materials was a key element in the ancient economy. The balance beam is made of both cast and soldered elements. It is true soldered filigree work of curls decorating the edge. The individuals and birds were cast. It is also extremely rare to find balance beams in silver, as most of them are of wood or bone. There is a single suspension hole in the top bar center and one hole for a net on each side of the lower bar.
Period: Peru, Chimu, North Coast, circa 900 - 1350 AD
Media: Metal
Dimensions: H: 2" W:3.5"
$4,500
98361
Peru, Chimu Silver Tupu with Ornate Rattle
Tupu pins were used by high status individuals to fasten their garments. The level of fine detail and craftsmanship indicates that this silver tupu would have belonged to an extremely important person. The shaft is completely incised with a repeating diamond motif. The rattle at the top is constructed with two incised discs, soldered to a curved band. Inside is a delicate suspended cylinder. This rare tupu is in good condition and has been professionally cleaned and stabilized.
Period: Peru, Chimu, North Coast, c. AD 900 - 1350
Media: Metal
Dimensions: Length:10" x Weight: 25 grams
$2,650
MM615
Peru, Chimu Tapestry Panel with 18 Cacti
The panel is arranged with three rows of cacti, probably the San Pedro cactus species. The San Pedro is also eaten as psychoactive fruit and is shaped like a star or flower when sliced. This panel illustrates three rows of plants, each with a bird eating the fruit. The rows of cacti are bordered by double rows of stylized crowned Chimu crowned.
This panel was cut from a larger weaving. The fringe is authentic, coming from the original weaving, but was re-attached. The panel is mounted in a Plexiglas box. The framer used an adhesive to attach the weaving to the ivory cotton ground; it should not be removed from the stretcher.
Formerly in a New York private collection prior to 1979.
Period: Peru, Chimu, Central Coast, c. AD 900 - 1350
Media: Textile
Dimensions: Height: 22" x Width: 23"
$3,250
n9042
Peru, Chimu Tapestry Panel with 18 Ducks in Profile
This tapestry features 18 ducks in profile, and arranged in three rows, each oriented in the same direction. Each duck has one wing stylized in the shape of a single feather and the other behind its head. There is delicate detailing in the feet and tail feathers. The panel is mounted in a Plexiglas box. The framer used an adhesive to attach the weaving to the ivory cotton ground; it should not be removed from the stretcher.
Period: Peru, Chimu, North Coast, c. AD 900 - 1350
Media: Textile
Dimensions: Height: 13" x Width 31"
Price Upon Request
n9041
Peru, Chimu Tapestry Shirt with Pelican Narrative
This is a complete tapestry woven shirt with sleeves constructed of cotton warps and camelid wefts in red, brown, olive and white on an ochre ground. It depicts a mythical marine narrative with two pelicans carrying a litter bearing a trophy head in the form of a skate with a face. Litters were considered a prestigious mode of transportation on the North coast. The presence of this image within the narrative reinforces the importance of the individual who wore this shirt. There is a pelican with a crescent headdress on top of each litter. Each of the four panels displays the same scene in reverse colors. This shirt is illustrated in Rowe, Ann, "Costumes and Featherwork of the Lords of Chimor" published by The Textile Museum, 1984, fig 103. Formally in the collection of the Southwest Museum in California.
Period: Peru, Chimu, North Coast, c. AD 900 - 1350
Media: Textile
Dimensions: Width 47-1/2" x Length 19-1/2"
Price Upon Request
96127
Peru, Chimu Wood Mirror Back depicting a lord
A large and well carved wood mirror back with a dignitary in full regaila wearing a nose ring and a large crescent shaped headdress. His face is also decorated with a tattoo. There is original cotton string bound to the handle. The pyrite mirror in the back is ancient but not original to the piece. A similar elaborate mirror back from the Chimu is illustrated in Alan Lapiner, "Pre-Columbian Art of South America" (1976: #625) That particular mirror was sold at Sotheby's auction May 19, 1993 for $30,000. My mirror was examined by Robert Sonin for authenticity May 25, 2006 Photo roll-out #3305 and #3306.
Period: Peru, Chimu, North Coast, circa AD900-1350
Media: Wood
Dimensions: Height 11"
Price Upon Request
98270
Peru, Chimu/Inca Copper Lime Spoon with Long-Billed Bird
An unusually large lime spoon decorated with a cast long-billed marine bird on top. The bird has turquoise beads for eyes. Lime spoons were used to extract powdered lime from containers for participants in coca rituals. The lime (powdered burned limestone or shell) was the catalyst that released the cocaine alkaloids from the coca leaves chewed during these ceremonies. Coca rituals were important to Andean cultures, but were restricted to elite, high-ranking lords. Birds represented souls flying to the otherworld to communicate with the supernatural. For similar examples, see Baessler (1906: pl. 13; Nordenskiold 1921: fig. 19, c; Carcedo de Mufarech 1985: fig. 89; and Schindler 2000: 202 and 203).
Period: Peru, Chimu, North Coast Peru, circa 1100-1350
Media: Metal
Dimensions: Height: 4 3/4"
Condition: Good. The tip of the spoon has been restored.
Price Upon Request
95102
Peru, Club with Six-pointed Stone Mace
This wood handled club is decorated with a colorful alpaca band and topped by a six-pointed stone mace. The mace is secured to the shaft with a bronze needle and a colorful fur-like band. Clubs were favored in the Andes because the Andeans utilized a clobbering form of fighting and hunting as opposed to hunters in Europe, who preferred a piercing technique with hardened metals. There is an example illustrated on a Moche painted ceramic that depicts a deer hunt, in which hunters are using both clubs and darts. The illustration appears in "MOCHE: ART OF PERU" by Christopher Donnan, fig. 263.
Period: Peru, Ica/Chincha, South Coast, circa AD1000-1450
Media: Wood
Dimensions: Length: 16" Diameter of Macehead: 5"
Price Upon Request
n2046
Peru, Colonial Kero in the Form of a Feline Head
Originally the Inca used these carved vessels for ceremonial and festive occasions. This tradition lasted through the late 18th Century. Shaped keros were introduced in the Colonial period and their design is limited to 3 specific types of animal motifs: alpaca, llama, feline. They were also made to resemble Inca lords. Keros were made in pairs; and the pair to this Kero is at the Yale Peabody Museum and is illustrated in “Machu Picchu: Unveiling the Mystery of the Incas†on p.212. The vessel may represent an ocelot rather than a jaguar or puma because of the pelage markings, which indicate that it represents a tropical forest feline. The back of the kero is carved and painted with a scene depicting a battle scene between Inca troops and tropical forest warriors known as the Chunchus - the last group that the Inca conquered. The waxy colored inlay pigments, known as mopa-mopa, came from Pasto, Colombia and the carved wood is mainly from the Escallonia genus of shrubs and trees. A similar kero is illustrated in “MACHU PICCHU: Unveiling the Mystery of the Incas,†on pg. 212. This kero was formerly in the collection of Nelson Rockefeller and was sold at Sotheby's on November 5, 1980, in lot 75.
Period: Peru, Colonial, c. Late 17th Century/Early 18th Century
Media: Wood
Dimensions: Height: 8 3/4" Widest point on top: 6".
Price Upon Request
n8014
Peru, Colonial Qero with floral motifs in registers
Decorated in five registers with flowers, the pair to this vessel is in the Museo Inka, Universadid Nacional del Cuzco and illustrated in Ochoa et. al. "Qeros: Arte Inka en vasos ceremoniales" (1998: 267). Some were made in pairs, particularly in the Colonial period. Qeros were festive drinking cups that Inca rulers, governors and other state officials used in ceremonies, and they were often gifted from one lord to another. Hans Monheim collection - Aachen Germany since 1950's.
Period: Peru, Inca, Colonial Period, circa AD1600-1800
Media: Wood
Dimensions: Height 6 1/2: x Width: 5 " across the top
Price Upon Request
M4044
Peru, Colorful Chancay Gauze with Abstract Faces
This is a very unusual gauze in blue, red, and saffron colors. It is woven in two panels and depicts three bands of large abstract faces, bordered by step clefs. In the opposite orientation the faces appear as skates and frogs.
Period: Peru, Chancay, Central Coast, c. AD 1100 - 1430
Media: Textile
Dimensions: Length: 27" x Width: 26"
$8,000
n6053h
Peru, Early Chancay wood painted circular headdress ornament. with red sun face
A well painted wood disc depicting a sun with serpents heads emanating from the center circle. The painted surface is stucco-like and in excellent condition. The disc has an ancient repair of a clean horizontal break through the center. There are four attachment holes in the center as well, which implies that it was worn either as a headdress ornament or a pectoral. This is illustrated in CHANCAY. The Merrin Galleries have illustrated a painted textile with the same sun face motif and emanating serpents on a poster for an exhibition.
Period: Peru, Chancay, Central Coast, circa 1100 - 1430 AD
Media: Wood
Dimensions: Diameter 9"
Price Upon Request
98089
Peru, Early Chavin/Paracas Bowl with Transforming Cubist Face
This bowl demonstrates a human face with a distinct eye looking outward, transforming into the face of a feline entity. The red serpent above the eye suggests the presence of a supernatural demon or perhaps a knowledgeable serpent spirit guide offering wisdom. The incised designs are painted with polychrome resin pigments and has an extended lip on the rear upper edge, which was used to pour ritual libations - perhaps Ayahuasca or a similar psychedelic brew containing DMT from entheogenic plants found in the region. This bowl is also an excellent example of the geometric abstract style with bold blocks of color favored by the Paracas. It shares stylistic traits with the modern Surrealist and Cubist movements, featuring a morphing of narrative portraiture and purely abstract form. Ancient art objects with abstract and surrealist qualities were highly sought after by sophisticated collectors with excellent taste during the mid-20th Century. These collectors would combine ancient and modern artworks together, forming a unified gestalt aesthetic. Abstraction is quite rare among pre-modern societies, and one hypothesis as to why the Andeans had such a sophisticated understanding of abstract form and color is the entheogen theory. In his 2005 paper Psychoactive botanicals in ritual, religion and shamanism, Glenn H. Shepard discusses how Chavin de Huantar, the main Chavin temple, was located near a geologic unstable valley region in the Andes with a wealth of natural plant entheogens where two rivers merge. The Chavin people believed that the spirit could transcend the body and fuse with the spirit of the jaguar, a belief that was likely facilitated by entheogen use. This animistic belief system affected all subsequent Andean cultures, including the Paracas, whose would continue this belief. This bowl depicts a human face with a distinct eye, transforming into a jaguar spirit with a bright red serpent framing the eye. The red serpent suggests the presence of a sentient serpent demon or perhaps a knowledgeable spirit guide offering wisdom.
A very similar vessel is in the Oscar Landmann collection #119, Sao Paulo, Brazil. Ex-Collection Anton Roeckl, Germany.
Note: The bowl was painted within the incised designs with post-fired polychrome resin pigments and finished after firing with a second firing to melt the resin creating a glossy finish. This tradition began with the Chavin cult, a psychedelic cult that engaged in ritualistic jaguar worship. Using psychedelics, one could transcend the body and become the spirit of the feline. The Chavin influenced all subsequent Pre-Columbian cultures, including the Paracas, who would continue this belief. This bowl demonstrates a human face with a distinct eye looking outward, transforming into the face of a feline entity. The red serpent above the eye suggests the presents of a supernatural demon or perhaps a knowledgeable serpent spirit guide offering wisdom to the transforming shaman. This design demonstrates an animist belief in an interconnected network of souls and spirits.
Period: Peru, Paracas, Ocucaje, c. 500 BC - AD 100
Period: Peru, Paracas, Ocucaje, c. 500BC - 100AD BC
Media: Ceramic
Dimensions: Height: 2 1/2" x Diameter: 7"
$22,500
M7134
Peru, Early Middle Horizon Mother of Pearl Round Ear Spool Front with 13 Petals
This is a very large piece for a mother of pearl carving and must have come from a very large shell. The 13 petal incised design does not represent a specific flower, but instead is an abstract form depicting a floral shape. The center hole with incised ring is typical of Late Chavin/Early Moche iconography.
Period: Peru, Chavin, Late phase, North Coast, c. 600 - 400 BC
Media: Shell
Dimensions: Diameter: 2"
Price Upon Request
m7118
Peru, Early Moche Gold Owl Ornament or Necklace Element
This ornament portrays a stylized horned owl. The owl was revered by the ancient people for its special characteristics, such as silent flight, strong talons, and its ability to rotate its head 180 degrees. This gold owl has two suspension holes to the lower rear, which would have allowed it to hang looking downward. It is constructed from flat pieces of sheet gold that were hammered and beaten into repoussé parts, and then soldered together. Such three-dimensional forms were characteristic of the Transitional phase of gold work on the North Coast after the collapse of the ChavÃn culture. The eyes are made from Spondylus beads.
Period: Peru, Late Chavin/Early Moche, Transitional Phase, North Coast, c. 200 BC - AD 200
Media: Metal
Dimensions: Height: 1 1/4" X 1 1/4"/ Weight: 10 grams
Price Upon Request
M7015
Peru, Early Moche/Vicus Head of a Tucan with Dangles
This object is quite rare and is from Northern Peru, by the Maranon river valley where other Vicus style objects have come from. It is fashioned from a heavy sheet, bent, soldered, and has dangles. It would have fit front and center onto a headdress, attached using the tabs at the back. The rods that hold the dangles are soldered, along with the bottom of the beak. The eyes are soldered rings with turquoise inlays. A similar object is illustrated in the GOLD OF PERU, Mujica Gaillo collection.
Period: Peru, Vicus, Far North Coast, c. 300 BC - AD 300
Media: Metal
Dimensions: Length 3 3/4" Weight 32.8 grams
$8,500
91055
Peru, Early Nazca/Late Wari Tie- Dye Patchwork Rectangular Bag
This tie dye rectangular bag with discontinuous interlocking patchwork was probably used for carrying feathers. The bag was made from surplus squares left over from a larger mantle, utilizing the scaffold technique. Collected by Gunnolf Bjorkman who worked in Lima in the 1960's and settled in Buenos Aires.
Period: Peru, Nasca, South Coast, c. AD 300 - 700
Media: Textile
Dimensions: Length: 26" x Width: 4 1/2 in.
$7,250
91265
Peru, Early Nazca/Sihuas Feather Tunic With the Eight Pointed Star On an Orange Ground
This tunic with an eight-pointed star motif, also referred to as the Radiant Sun, is similar to other published tunics. The front part is a complete star with assorted color blocks of blue feathers. The back of the tunic has only two blue stripes on an orange ground with a fringe of turquoise macaw tail feathers. The blue feathers do not contain blue pigment, but instead are natural prisms which brightly reflect the color of the sky. I believe that all the feathers are from the Scarlet, Yellow, and Blue Macaws. Tunics with similar motifs are illustrated in TEXTILE ART OF PERU, 1989, L.L. Editores, Lima. pages145,-147 & 163. Usually tunics with an eight-pointed star motif are from the Nazca region, from the South coast of Peru. This tunic was found in the Sihuas region near the city of Arequipa and predates the Nazca by 500 years. The backing fabric is fragile and needs proper conservation.
Period: Peru, Sihuas II, Southern Andes, c. AD 100 - 300
Media: Textile
Dimensions: Length 56" x Width 35" (142cm X 88.9cm)
Price Upon Request
N1028
Peru, Early Paracas Double-Cloth Mantle with Bands of Interlocking Serpents on Strawberry Ground
This beautiful woven textile features lime green bands of interlocking geometric double-headed snakes on a red ground. The interlocking serpent motif is one of the oldest motifs in the Andes, dating prior to 1,500 BC. Snakes were an important part of Andean mythology; they emerge following a rain and are often portrayed in Pre-Columbian art together with imagery of water, rainbows, and energy. Double-headed snakes do exist in nature, although they are extremely rare, and it is likely that they were considered a powerful omen of abundance in Paracas animist cosmology. The double-headed snakes portrayed here also feature lightning strike designs on their torsos, which convey a sense of energy, motion, and power.
The contrasting combination of bright red and lime green fields create an optical illusion that the snakes are vibrating. These two carefully chosen hues of red and green are at opposite ends of the visual spectrum that the human eye can see, causing the brain to become overloaded, which translates into a sense of vibration. The Paracas’ knowledge of color with many of the great abstract color theorist artists of the 20th Century such as Albers, Malevich, and Kandinsky. Ancient works of art with abstract beauty such as this were highly sought after during the golden age of collecting in the Mid-20th century by wealthy collectors as well as artists such as Matisse and Picasso.
The mantle bands were woven using a complicated technique called double cloth in which the front side motifs are in opposite colors from the rear. This same motif appears in the frontispiece in Bird and Bellinger's catalog raisonne Paracas Textiles. Professionally restored and mounted on a stretcher. Acquired by David Bernstein in 2000.
Period: Peru, Paracas, South Coast Early Intermediate Period, Phase II, c. AD 100 - 200
Period: Peru, Paracas, South Coast Early Intermediate Period, Phase II, c. AD 100 - 200
Media: Textile
Dimensions: Length: 63 in. x Width: 39 in.
$38,000
MM318
Peru, Effigy Vessel of a Patagonian Toothfish with Resin Pigment
This bridge-spout vessel depicts a toothfish decorated with longitudinal bands of buff and green pigment. The protruding head and fins resemble the Patagonian toothfish, popularly known as the Chilean sea bass. These fish were caught with a hook and line in ancient Pre-Columbia and are still caught this way in modern times. The Patagoninan toothfish, (Dissostichus eleginoides) has a long life span and is thought to live up to 50 years. The average toothfish weighs between 15 and 20 pounds, however they can grow as large as 220 pounds. The flaring spouts indicate that the ceramic was crafted in the Paracas Necropolis style, as opposed to the more common Cavernas style, which features blind bridge spouts. The harmonic balance between naturalism and abstraction is a unique stylistic trait in Andean art that attracted cubist and minimalist artists such as Pablo Picasso and Henry Moore to ancient Andean art. These famous artists were intrigued by Andean art and wanted to replicate this method of combining abstract forms and narrative imagery in their own paintings and sculpture. Alan Sawyer discusses the Necropolis style in his book Ancient Peruvian Ceramics: The Nathan Cummings collection on pages 96-97, fig. 135-138. The only other known Paracas toothfish vessel is in the Museum of the University Agraria, Lima, Peru. Acquired from the estate of British collector. London, prior to 1996.
Period: Peru, Paracas, South Coast, c. 500 - 200 BC
Period: Peru, Paracas, South Coast, c. 500 - 200 BC
Media: Ceramic
Dimensions: Height: 6 1/2" (14.2 cm.) X Length: 8" (18 cm.)
$35,000
96044
Peru, Huacho Carved Loom Bar with “Mooneater” Deities
This loom bar was once part of a backstrap loom - the most common loom type in the ancient Andes, dating back to the late Chavin Period. Andean backstrap looms are usually 22-28†in width. It would have been one of two bars needed to hold the warps together to the upper bar. This bar is elaborately decorated with an intricately carved “Mooneater†deity at each end.
Period: Peru, Huacho Valley, Late Intermediate Period, c. AD 700 - 1100
Media: Wood
Dimensions: Width: 24" x Diameter: 1/2"
$1,700
p2032H
Peru, Huari bone carved "Attelatel" handle with seated feline and deer
This was the grip for a spear thrower, with its original tie hole attachement. On the base of the feline is a deer wtih its antlers. This is a common motif throughout antiquity starting with the Sythicans of Russia where a lion is always attacking deer.
Period: Huari, South Coast Peru, c. 700-900 A.D.
Media: Bone
Dimensions: H. 4 x W. 1 1/4 in.
$9,500
91181
Peru, Huarmay Tapestry Border to a Poncho with Three Warriors
This classic Huarmay style tapestry is crafted in the classic Huarmay colors of ivory, blue, and red with black outlines. Each warrior wears different colors, and each holds a tumi in his left hand and wears an elaborate headdress with two long, forward-tilting plumes. Separating the warriors are blocks of ivory with three abstract birds on a diagonal. Along the bottom edge is a repeating classic step volute line in blue with a white outline. The Huarmay culture thrived during the Late Moche Period on the most Southern of the fourteen Moche valleys, and were influenced by the Wari. Mounted, in a Plexiglas box. Minor losses to the ivory central panel. Formerly in a New York private collection prior to 1979.
Period: Peru, Huarmay, Central Coast, c. AD 650 - 800
Media: Textile
Dimensions: Width: 48" x Height: 6 1/2"
$8,500
n9040
Peru, Huarmey Tapestry deity with rayed headdress
This is a very large single figure for any Peruvian weaving, and it was originally attached to a mantle of sheer cotton. The figure wears a headdress, ear spools, necklace, and tunic with a serpent belt in the red, blue and ivory colors typical of Huarmey textiles. The Huarmey Valley is the most southern in the Moche area and had, therefore, a lot of Wari influence in its art. This figure is stylistically more Wari than Moche in its abstract appearance.
Period: Peru, Moche, Huarmey Valley, circa AD700-900
Media: Textile
Dimensions: Length 32" x Width 24"
Price Upon Request
92305
Peru, Inca Carved Spondylus Shell in the Form of a Female
The female is holding her hands to her belly. The shell was carved in such a way that the front of the doll is reddish-orange and the rear is the white part of the Spondylus shell. These carved dolls were placed in burials of young girls as a sacrifice.
Period: Peru, Inca, South Coast, circa AD1200 -1532
Media: Shell
Dimensions: Height 4cm
Price Upon Request
N5048
Peru, Inca Gold Hollow Llama
These Llamas, along with other miniatures in gold, silver and spondylus were found at high altitude sacrificial burials sites, used in a ceremony known as the Capac Hucha ceremony to praise the Inca. A similar llama is illustrated in ANCIENT AMERICANS, Art From Sacred Landscapes p. 362. This hollow llama was assembled from hammered gold sheets which were soldered together. One seam can be easily seen along the underside. Ex. New York collector, prior to 1970.
Period: Peru, Inca, Early Phase, South Highlands, c. AD 650 - 1250
Media: Metal
Dimensions: Height: 2.5" Weight: grams 9.6
XRF: Au. 66.4%, Ag. 24.6% , Cu8.8%
Price Upon Request
n7053
Peru, Inca Gold Pin Topped with Bird Perched on Corn Cob
Gold from the Inca period is rare as most has been melted down by the Conquistadores. These pins are mostly found made of silver and were used to pin a garment closed. What appears to be a simple pin is complicated in its manufacture. The pin with the corn cob is cast. The bird is made of a separate stamped sheet, designed head to head, bent, and soldered to itself. The bird was then fitted over the top to appear as one piece. Private Florida collection, prior to 1980. A similar piece appears in "Kunst Und Kultur von Peru" (Art and Culture of Peru) by Max Schmidt, p.396.
Period: Peru, Chimu, North Coast, c. AD 900 - 1350
Media: Metal
Dimensions: Length: 5" Weight: 4.7 grams
Price Upon Request
MM625
Peru, Inca Tiana Carved Wooden Seat
Tianas were originally made from a single block of wood during Inca times (1250-1500AD). These wooden seats and other specified goods were limited for use by the Inca class. Tianas continued to be used well after the Spanish conquest. A well known Tiana survives in the Berlin Museum.
Period: Peru, Inca, South Coast, circa AD1200 -1532
Media: Wood
Dimensions: Length 14' x Width 11" x Height 4"
$8,000
M7012
Peru, Inca Wood Polychrome Kero Incised with Spider and Geometric Designs
This kero is an extremely fine example of incising technique. The overall surface is incredibly intricate. The incision lines mimic the natural geometry imposed by the repeated motif of an abstract spider moving vertically on the upper and lower portions of the vase. The creature's body is highlighted with red, yellow and green paint. The central band is accented with patterned bands of diamonds and circles and squares in red, yellow, green, black and white. The rim and base are accented with simple green bands. Such great attention to linear detail and mastery of the incising technique suggests that this is an earlier kero (possibly 16th century). Examples illustrating the incising technique can be seen on p.54 of 'QEROS: Arte Inka en Vasos Ceremoniales', by Jorge Flores Ochoa. This book is part of the Coleccion Arte Y Tesoros Del Peru.
Period: Peru, Inka, Colonial Period, 1600-1800AD
Media: Wood
Dimensions: Height: 5 1/4"
$12,500
MM110
Peru, Inca/Ica Tapestry Borders to a Tunic depicting creatures in profile holding a bird
A very finely woven tapestry work in alternating color arrangements on tan and red grounds. The creature is wearing an upside down tunic on his head with a early Inca motif of checkerboard pattern. Color is used to create hidden images.
Period: Peru, Ica/Chincha, Moquega Valley, South Coast, circa AD1000-1450
Media: Textile
Dimensions: Length 24 1/2" x Width 3 1/4" framed / 23" x 2 1/4" unmounted
$4,850
M3136
Peru, Knotted Textile Fringe with Colorful Abstract Motif
This knotted fringe is distinguished by its brilliant colors and abstract "z" motif repeated along the band. It was not woven on a loom but instead was created by a method referred to as "tubular looping." Looping is a single-element technique in which the free end and full length of the yarn are pulled through previous work at the edge of the fabric to form each new loop. Looping predates the domestication of fiber-bearing plants and animals and the invention of weaving in the Americas and possibly Eurasia. The choice of color combinations creates a vibrating impact.
Period: Peru, Nazca-Early phase, South Coast, circa AD200-400
Media: Textile
Dimensions: Length: 61 inches; Width: 2 inches
$3,000
91105
Peru, Lambayeque Whistling Vessel with Bat Atop Pacay Fruit
This ceramic bridge-spout whistling effigy vessel was crafted in the shape of fruit bat resting atop a Pacay. The Pacay fruit, found in the Amazon, is related to mangoes and guavas. Fruit bats have an extremely good sense of smell and sharp teeth with which to open the tough skins of fruits. The whistle built into the vessel, customary for Lambayeque vessels, is seen just behind the bat. Bats are a rare motif and quite meaningful in ancient Andean mythology as they are associated with transport to other worlds. The vessel was painted with orange slip and black octopus ink on a buff ceramic ground. There are only two other known Lambayeque vessels with sculptures of bats, one is illustrated in "Ceramics of Ancient Peru" by Christopher Donnan, 1992, p.89, and the other is the property of The American Museum of Natural History.
Period: Peru, Sican, c. AD 800 - 1100
Media: Ceramic
Dimensions: Height 8" x Length 6 1/2"
Price Upon Request
mm145
Peru, Large fragment to a Wari tunic in Unusual Colors with Abstract Monkey Faces
The fragment consists of two large sections that join, making it almost 60 inches in length. The design is of opposing monkeys in profile. Both profile monkey faces also combine to create a third, larger monkey face in two colors. The monkey’s tail turns into a step fret motif, typical of Wari tunics. The thread count is high, at around 120 per inch. The warps are of cotton and the wefts are of fine alpaca. Cotton warps suggests that the tunic was woven on the coast.
Period: Peru, Wari, South Coast, c. AD 600 - 900
Media: Textile
Dimensions: Overall length is 60" x Width of 20"
Section A Length: 30" x Width: 20"
Section B Length: 30" x Width: 20'
$6,950
n7018
Peru, Large Wari Carved Wood Lime Container Representing a Decapitator
This large wood lime container is carved in the form of a classic Wari decapitator holding a trophy head in his right hand. These containers were used to store lime, which assists the body in metabolizing cocaine alkaloids from ground coca leaves. The opposite side would have had him holding a tumi knife. The decapitator is wearing an elaborate costume with a puma mask and a tapestried tunic with feline profile faces. Below the mask is an elaborate pectoral of trapezoidal plaques. One half of the container is missing, and the inside reveals a storage chamber. The puma is elaborately decorated with classic Tiahuanaco motifs from the Gateway of the Sun. Evidence of inlays in the eye sockets exist. The container portrays a major sculpture in wood for this period. Another lime container in the National Museum of Copenhagen of the same height, 5.75" is illustrated in "Art of Empire, Museum of Primitive Art" - fig. 80.m. There is a chapter in the Peruvian publication Los Dios del Antiguo Peru - Dioses De Pachacamac El Idolo Y el Templo, pages 159-175, which discusses a carved wood idol on a staff. This staff in the book has many elements that are similar to this lime container, specifically the arched serpent and profile face.
Period: Peru, Huari South Highlands/Coast, circa 650-900A.D.
Media: Wood
Dimensions: Height: 4 1/2"
$8,000
97158
Peru, Large Wari wooden lime container in the form of a seated man
This large Wari wooden lime container is in the form of a kneeling figure carrying an axe in one hand and a group of darts in the other. He wears a circular hat which is also the lid of the container and a pair of earspools.
Period: Peru, Wari South Coast, circa AD650-900
Media: Wood
Dimensions: Height 4 3/4 in.
Price Upon Request
93123
Peru, Late Chavin Hammered and Soldered Gold pendant with a Feline Head
This is a rare Chavin gold work that has been soldered - the ears to the head and the head to the body. There are two sets of suspension holes on each side of the mouth. There are two more suspension holes for danglers by each paw. There is repousse depicting the mouth and nose and on each paw. Estate of Bill Simmons, acquired at Sotheby's Sale # 7996, May 2004, lot 107.
Period: Africa, Cameroon
Media: Metal
Dimensions: Height: 7cm x Width: 8.3cm Wt. 24.3 grams.
XRF Au 85%, Ag 13.3%, Cu 1.08%.
Price Upon Request
n8011
Peru, Late Nasca Gold Cuff with Embossed Faces
A hammered and repousse gold cuff decorated with two rows of faces, probably representing masks. I have not seen many cuffs embossed, as most Late Nasca art consists of simple wrought gold, occasionally with a geometric pattern. These embossed masks are quite rare. There are two tie holes on each edge of the cuff. Similar Nasca gold cuffs are illustrated in the THE GOLD OF PERU, MUJICA GAILLO COLLECTION. Ex-Collection Jean Eugene Lions, St. Tropez, since 1970.
Period: Peru, Nasca, South Coast, c. AD 400 - 800
Media: Metal
Dimensions: Height 2 1/4' Weight 40 grams
Alloy: Au.32.7, Ag. 55.3 & Cu.11.6 = 99.6%
$6,750
M5078
Peru, Late Nazca Ceramic Vessel in the form of a Howling Man
A very delicately modeled and painted miniature vessel of a howling man. The face can be read upside-down as well. Seen from right-side up, the figure appears to be wearing a tunic and cape decorated with abstract heads. From upside-down the tunic turns into a scarf, and the cape becomes the tunic. The face also changes according to the direction the object is seen from. The howling image is associated with decapitation and the trophy head ritual.
Period: Peru, Late Nasca drainage, South Coast, c. AD 600 - 800
Media: Ceramic
Dimensions: Height: 4 1/4"
Price Upon Request
92037
