Small Pre-Columbian Figurine – Ritual Stone Amulet

"Pre-Columbian Ceramics – Tiahuanaco Culture" Material: ceramics Origin: Southern Sierra of Peru, Lake Titicaca Plateau Period: Boom Age (1 AD – 800 AD) Dimensions: 11 x 10 cm diamet...

Important Olmec figure of Olmec ethnic dignitary from the preclassic period (2500-200 BC) Important Olmec figure of dignitary of the Olmec ethnic group of...

ANTHROPOMORPHIC SCULPTURE CARVED IN STONE OF THE RECUAY CULTURE PERU 400BC-400AC Recuay is an archaeological culture of Ancient Peru that developed in the Sierra of the current Peruvian department of Áncash between 200 AD. C. until 600 d. C. It corresponds to the stage called Regional Developments, it has also been called the Huaylas or Santa culture. Like the other Early Intermediate cultures, little is known about this culture. The most accepted position is that it was an extension of the Chavin culture, after the influence of the "White on Red" style in the region. Regarding the political aspect of the recuay, there is a hypothesis that questions their autonomy and maintains that Recuay would be part of one of the many political units that made up the Moche state. The recuay style, characterized by its ceramics and stone sculpture, was initially described by Eduard Seler in 1893, based on ceramic specimens brought to the Ethnographic Museum in Berlin by Mariano M. Macedo. Seler named this style of pottery Recuay, based on the report that these pieces had been found in the town of Recuay. Later studies showed that this characteristic pottery was not originally from Recuay but from Copa, near Carhuaz, for which reason the name change to that of this town was proposed. Eventually the name of Huaylas was used for this culture. In 1919 Julio C. Tello explored the area and recovered lithic sculptures and Recuay-type ceramics. In the 1960s Rafael Larco Hoyle proposed changing the names of Recuay and Copa to Santa, arguing that the Recuay style had originated in the coastal regions of the Santa Valley. However, the name Recuay has persisted. Its chronology is also highly debatable. The time of its origin between 0 and 200 AD is discussed. C. and its end or collapse is commonly set to 600 d. C. probably caused by the invasion of the Huari conquerors. It encompassed almost the entire Callejón de Huaylas, a narrow valley fed by the Santa River and enclosed between two mountain ranges, the Cordillera Blanca to the west and the Cordillera Negra to the east. Its influence extended to the east to the Marañón river basin and to the west to the upper parts of the Santa, Casma and Huarmey valleys. To the north it reached the town of Pashash, in the province of Pallasca. The Copa area, Marca district, Recuay province, Ancash department seems to have been the center or main nucleus of cohesion of this culture. The name of the culture would then be justified, derived from the province of the same name. Other important settlements were those of Huilcahuaín (near the current city of Ancash), Cátac, Araucay, Tambo, Jancu, Upayacu and Pashash (near the current city of Cabana). Its main form of expression of art was through stone work (carving and masonry), inherited from its predecessor, the Chavín culture. In addition, they made sculptures in lumps that represent warriors with shields or trophy heads, with which they decorated their complex architectural constructions. They also made white clay pottery...

Pre-Columbian vessel from the Chavín culture in the form of a seated man, probably a hunter, with an animal on his back. Chavín art is known for its complex iconography and mythical ...

A Kissi Nomoli carved stone figure, a male with his hands wrapped around his knees, on a base; from the Kissi people of Sierra Leone. Greyish brown patina, snout-like mouth, large no...

A Nomoli is a carved stone figurine native to Sierra Leone and Liberia. They are usually made of soapstone, limestone, or granite. The carving depicts a woman in a dress and choker,...

A Nomoli is a carved stone figurine native to Sierra Leone and Liberia. They are usually made of soapstone, limestone, or granite. The carving depicts a man holding his belly with a...

Rare Pre-Columbian Moche Portrait Vessel – Musician with Panpipes – Peru, 700–900 AD An exceptional and highly unusual Pre-Columbian Moche greyware portrait vessel, depicting a diminutive rotund personage playing panpipes. This rare sculptural ceramic, dating to the Moche IV period (circa 700–900 AD), features expressive detailing including a crown-style headdress, flowing hair, and an axe carried at the side—suggesting both ceremonial and symbolic importance. Culture: Moche Civilization, Northern Peru Period: Moche IV, circa 700–900 AD Region: Pre-Columbian South America Material: Greyware ceramic Subject: Dwarf figure playing panpipes, wearing a headdress and carrying an axe Condition: Two prongs of the headdress have been professionally restored; part of the panpipes is lost otherwise intact and well preserved Provenance: From the Romy Rey Collection, UK – acquired before 1960 Additional Detail: Retains an old collection label on the base Cultural Context: The Moche culture, predating the Inca Empire, is renowned for its lifelike portrait vessels and ceremonial ceramics. This figure, possibly representing a ritual performer or symbolic character, reflects the Moche’s complex social structure, musical traditions, and representation of marginalized figures with spiritual or narrative roles. This rare South American artifact is a compelling addition for collectors of Pre-Columbian art, Moche pottery...