Pre-Columbian Figurative Sculptures

Mask. Teotihuacan, Mexico. Classical Period, AD 450–650. Stone. 21.6 cm high; 16.5 cm wide. Condition: Good state of preservation, complete. A crack in the left side of the foreh...

This expressive vintage bronze sculpture was created by Mexican artist Jesús Tellosa and is signed and dated 1999. The work depicts a stylized winged figure rendered in Tellosa’s distinctive figurative language—abstracted yet deeply emotive, with softened anatomical features, closed eyes, and compact proportions that evoke introspection, spirituality, and quiet strength. Cast in solid bronze, the sculpture displays a richly developed surface with natural patina, visible tool marks, and subtle tonal variations that emphasize the artist’s hand and process. The wings, integrated seamlessly into the figure’s form, suggest themes of transcendence, protection, and inner transformation—recurring motifs within contemporary Mexican sculpture of the late 20th century. Jesús Tellosa is recognized for his contribution to modern Mexican figurative art, working primarily in bronze and other traditional materials while embracing simplified forms and symbolic narratives. His work reflects the broader Mexican artistic movement that sought to bridge pre-Hispanic symbolism, spiritual introspection, and modernist abstraction, positioning the human figure as a vessel for cultural memory and emotional resonance. A compelling and collectible example of late-20th-century Mexican bronze sculpture...

This intriguing head fragment was once attached to a bust or full effigy figurine crafted in 400 A.D. Mesoamerica. Earthenware figurines were made in great abundance throughout Teotihuacan's history. After 250 A.D. objects made from clay increased dramatically in Teotihuacan, serving a wide variety of purposes and functions from religious rituals to burial offerings. Figurines like this commemorated important people and events within the city of Teotihuacan and other parts of Mesoamerica, portraying individuals of different rank and status such as soldiers, merchants, bureaucrats, and occasionally divinities. This figure is adorned with an elaborate coiffure or headdress and ear spools...

Beautifully aged with a rich patina and pitted wear, this seated ceramic male figure is attributed to the Colima region of Western Mexico. The stylized form of this male figure follows the conventions of Colima pottery...

GALERIA MUSEO DE ORO - Vintage museum reproduction Pre-Hispanic artifact - gold plated bronze - marble plinth - original presentation box - signed...

Beautiful terracotta hand sculpted figurative head. Signed INAH MEXICO. Reproduction licensed under the National Institute of Anthropology and History in Mexico. Beautiful sculpted...

Southern Costa Rica or Western Panama, circa 800 to 1500 AD. A very fine example of the goldwork of the Veraguas-Chiriqui-Diquis region. A pendant in Carbonera style of a supernatural being, a composite monster with human torso and feline (probably jaguar) head. The figure is set in a frame decorated with little animal heads, one at each corner. The hands have also turned into animal heads. In place of genitalia is a stylized serpent head suspended by a twisted cord that was supposed to continue across the frame. A minor casting accident prevented it form being attached to the frame. A modern goldsmith would solder in two short lengths of twisted wire, but the ancient goldsmith did not have the equipment to make such repair. A double thread ending in spirals goes across the frame behind the neck of the figure, helping to fill up the frame and avoiding a large empty space. The word "thread" reminds us that the twisted and straight cords were, in the original wax model of the pendant really extruded wax threads, turned into metal by the lost wax (cire perdue) process. The braid pattern on the frame is illusory, just two twisted threads of extruded wax laid side by side. The goldsmith made the toes out of extruded wax thread too, very decorative as well. The piece comes with a certificate of authenticity by Mr. Robert Sonin, 5 May 2006. ref. photo roll 3301. A world renowned expert on Pre-Columbian Artifacts...

This seated ceramic figure is attributed to the ancient Nayarit region of Mexico and was likely used as a ritual or burial offering. The ceramic works of this style, known as Chinesc...

This fantastic and well-proportioned Pre-Columbian style Mexican primitive style vessel figure The sculpture measures 9" High x 6 3/4" Diameter Similar to pieces of Michoacán, We...

Matte porcelain creation inspired by traditional Aztec dances from Mexico. A work with an understated yet profusely enriched decoration that mirrors the solemnity of these ritual dan...

Pre-Columbian Jade Costa Rican Avian Effigy pendant Atlantic Watershed 500AD- 1500AD Material: Jade Measures: Length 9 inches Width 1 inches Depth .4 inch. Exquisite Costa Rican jade (axe god...

A pre-Columbian figural vessel from West Mexico Colima culture (circa 300BC-400AD). Made of molded clay, the stoneware vessel depicts a seated hunchback...

This terracotta figure is a mid-20th century Mexican folk art piece, made in the pre-Columbian revival style associated with Maya and Toltec imagery. The seated figure wears a tall, ...

Seated couple, Jalisco, West Coast Mexico A domestic couple, with the man sitting cross-legged, holding a bowl that may have had a stick placed in the opening at the top, which appe...

A striking mid-to-late 20th-century terracotta effigy vessel, hand-built in the traditional revival style of pre-Columbian Mesoamerican ceramics. This piece heavily references the ic...

Nicoya Ceremonial Basalt Stone Seat in Shape of a Jaguar. Published in the Arizona Museum. This large and finely carved example of Costa Rican skill and craftsmanship is in the form of a jaguar which may have been a lineage or clan symbol - as also was the crocodile - according to 16th-century Spanish conquistadors. There are so many features that make this masterpiece so unique. The most realistic depiction is the face with its head captured in a pose that is threatening and fierce. Sculptors in ancient Central America developed elaborate metate forms that were associated with high status and wealth. They were commonly placed within graves of prominent individuals. Certain ancient rituals must have incorporated this activity and required special metates to be created for this purpose. It may have also served as a throne for the ruler, for whom the assurance of the fertility of his land and people would have been paramount. Even today, stone metates...

Southern Costa Rica/Western Panama, circa 800 to 1500 AD. Gold Veraguas-Chiriqui-Diquis twin figure pendant cast by the lost-wax (cire perdu) grasping an imaginary club with their claws, with bat ears and pop out eyes and each figure ending in the shape of a jaguar tooth, symbolizing the power of the jaguar and the ability to see in the dark; The casting process did not go entirely smoothly. Part of his mold, on the side of the proper right figure (viewer's left side), did not fill with metal. The Pre-Columbian goldsmith carried out a superb repair, probably making a wax patch and pouring gate on the gold pendant, then enclosing it in a new mold and pouring in more metal. The patch is hardly visible on the outside. A modern goldsmith, who cannot do it as well, would use his gas torch to solder on a patch. The gold is of such high grade or karat, possibly unalloyed native gold...

Nayarit Fertility Female Figure With Child Pre-Columbian, West Mexico, Nayarit, Ca. 300 BCE to 300 CE. A seated terracotta female figure from the shaft tomb tradition, shown cradling an infant over her right shoulder - likely a symbolic representation of fertility, maternity, and the continuity of life. This expressive red-slipped sculpture is boldly modeled with exaggerated limbs and stylized facial features, impressed eyes, a broad nose adorned with a septum piercing, and ear ornaments. Her elaborate coiffure is incised with vertical striations and rises into a high crest, pierced at the top with a vent hole connecting to the hollow interior. Manganese blooms across the surface attest to its long burial. Such figures were ritually interred in shaft tombs to accompany the dead, offering symbolic protection or ensuring rebirth in the afterlife. Dimensions: 4 Inches Wide x 8.4 Inches Height (10.2 cm x 21.1 cm) Condition: Presents beautifully with restorations to the head. Provenance: Collection of Y. Kayvan, Los Angeles, California, USA, acquired from a Los Angeles, California, USA gallery acquisition dates range from the late 1990s to 2005 Legal to acquire under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14. This Nayarit Figure...

This seated effigy figure was crafted in 300 BC to 300 AD from the ancient Nayarit region of Mexico and was likely used as a ritual or burial offering. The ceramic works of the Chine...

Fine Costa Rican Jade Axe God, Guanacaste-Nicoya region, circa. A.D. 1-1500. Of a celt form depicting the mythical part human- part avian bird figure, with cir...

This intriguing head fragment was once attached to a pre-Columbian bust or full effigy figurine. Earthenware figurines like this were made in great abundance throughout Mesoamerican history, serving a wide variety of purposes and functions from religious rituals to burial offerings. Figurines like this commemorated important people and events across Mesoamerica, portraying individuals of different rank and status such as soldiers, merchants, bureaucrats, and occasionally divinities. This figure is adorned with an elaborate headdress, or coiffure, and ear spools...

This intriguing redware figure was crafted in 400 A.D. from the ancient Teotihuacan region of Mexico. Earthenware figurines were made in great abundance throughout Teotihuacan's history. After 250 A.D. objects made from clay increased dramatically, serving a wide variety of purposes and functions from religious rituals to burial offerings. Figurines like this commemorated important people and events within the city of Teotihuacan and other parts of Mesoamerica, portraying individuals of different rank and status such as soldiers, merchants, bureaucrats, and occasionally divinities. This figure is adorned with an elaborate headdress, a thick beaded necklace...

This is a carved green stone like mask of the moon. It depicts the facial expression of sadness. Very detailed in the way that the eyebrows, eyes and mouth were featured. The mask is tied with a leather strand to a a square metal stand that is supported by two metal bars that were welded to a rectangular metal base. These stand is erected over a four steps wood rectangular pedestal. Below the rectangular metal base, it is found a label that states “The Moon Collection...

This standing effigy was crafted in 500 A.D. - 1000 A.D. Mesoamerica using the gray clay paste that characterizes La Tolita-Tumaco ceramics of early Colombia-Ecuador. The art of La Tolita-Tumaco civilization is considered one of the most developed of the pre-Columbian period as metalwork and ceramics were the most popular form of cultural expression. The ceramic creations of this culture were often based on the human figure to create portraits of people and realistic daily scenes of life cycles and the human condition. This figure appears to be wearing a loincloth and is adorned with a beaded necklace and an elaborate coiffure or headdress. There are holes lining each ear indicating the potential use of ear spools...

Fine costa Rican Jade axe god with alligator head Guanacaste-Nicoya region, circa A.D. 1-500 Material: Jade Of celt form depicting the mythical part human, pa...

A South Coast wood ceremonial leeboard, Ica Valley region, Late Intermediate Horizon, ca. A.D. 1100-1400. This large 'remo' made from the hard algarrobo wood, features twelve figure...