Peruvian Collectibles and Curiosities

Two great examples of 18th century Spanish Colonial slipper stirrups. Not a pair, each similar yet different. One is brass with a lovely floral decoration, the other a rare copper type with a simple incised design. Both with a wonderful patina that only comes with real age and use. These definitely put in some serious miles. Possibly used in battle, or just to protect the rider from bramble. Imagine what these pieces of history may have witnessed. Unique gift for the equestrian or collector of horse memorabilia...

STUNNING! PRE-COLUMBIAN INCAN CEREMONIAL SUN GOD VESSEL! CIRCA AD 1300-1500 TWO REPRESENTATIONS OF INCAN SUN GOD INTI (also known as Apu-punchau) DIMENSIONS: Approximately 12-1/2 " TALL by 4-1/2" WIDE This is the Holy Grail of Incan Pre-Columbian vessels. Here is an incredibly significant Incan Pre-Columbian terracotta ceremonial vessel with two depictions of INTI, the Incan Sun God on each side of the vessel with incredible details and beautifully preserved. Finding an Incan vessel with the depiction of Inti is quite rare. These were reserved for important ceremonial functions such as Inti Raymi - the festival in honor of the Sun God. What makes this one even more special is that the depiction of the Sun God nicely matches a 17th century document...

Pyrite (FeS2, iron (II) disulfide) is the most abundant sulfide mineral in the world. It is found literally everywhere, in igneous rocks, metamorphic rocks and in sedimentary rocks. It usually forms cubic crystals, with each crystal having six planes and razor-sharp corners and has a somewhat pale, coppery-yellow metallic luster. The ancient Greeks used pyrite to make fire. If you hit a piece of pyrite with a hard object, sparks will fly. Hence the name, πυρίτης (pyritēs) which means "for fire". For this reason the mineral was also popular for a while in the 16th and 17th centuries. Placing a piece of pyrite against a round file gave you just enough spark to fire a pistol of that era. Although pyrite is still primarily mined to make sulfuric acid, there have been more applications lately. For example, pyrite is found in Lithium batteries and the mineral is also increasingly used in solar panels. In the 1840'smMany of the inexperienced fortune hunters...

A bespoken sterling silver chocker necklace very bold design by Graziella Laffi, Lima, Peru, circa 1970s. The chocker features six subtly hammered roundels radiating into a trio of Axe-shaped fixed pendants, with two smaller ones flanking a large central one. The shape of the axe was often found in the Pre-Columbian art. As a bronze age tool, it symbolizes power. The necklace is not chain link but cast and joined as a solid chocker with box clasp mechanism. The design radiates a sense of history with the primitive tribal geometry in form, yet the necklace appears beyond ethnic, it exuberates a confident and bold modernistic aesthetic. The drop of the necklace on the mannequin (not included) is 11". It has an approximate 16" circumference and weighs 320 grams (10.3 troy ounces). It was tested as 900 purity with XRF analyzer. There is a Peruvian Cultural Ministry label applied and a catalog sticker on verso as shown. Graziella Laffi was born in 1923 in Florence, Italy to Gino Laffi, a silversmith and artist. Following her family tradition, Graziella enrolled in master classes after elementary school, focusing on design and painting. She next attended Escuela de Bellas Artes de Puerta Romana for three years, where Gino taught, and then to the Accademia di Belle Arti di Firenze, where she concentrated in architecture until the start of World War II. In 1947, Graziella, then twenty-four, immigrated with her parents to Peru. Gino later created a silversmith studio and showroom called Fabrica Laffi on Avenue Mexico, where Graziella initially learned her Craft. The Pre-Columbian culture in her adopted country inspired Graziella to travel and collect, which ultimately influence her design in the silver pieces. Graziella learned the metalworking techniques of the ancient Peruvian civilizations and rejected the current technology. She mostly used hammering, rolling and creating joints as the ancients do. As an ambassador of Peruvian culture, her work promoted the indigenous Peruvian art and rekindled the interest in its ancient heritage throughout South America, the United States and Europe. She exhibited her growing collection of Peruvian artifacts...

Spanish Colonial style polychromed and gilt santos of the Archangel Saint Michael shown striding with raised arm where he would have held a sword or spear to drive Satan from paradise. This is a finely detailed mid 20th century plaster sculpture in the Baroque style. The face with a serene expression and glass eyes. Mounted on a painted wood base. Acquired in Lima, Peru circa 1960 by the previous owner. 16 inches high 7 wide 8 deep Saint Michael the Archangel...

A highly sculptural sterling silver necklace by Peruvian silversmith and designer Grazielle Laffi (1923-2009), Lima, circa 1970. Marks to ne...

A wide leather belt with large sterling silver buckle crafted by Graziella Laffi, Lima, Peru, circa 1960-70s. The bespoken sculptural silver buckle features a biomorphic motif rooted in pre-Columbian culture. Marked: PERU, 950. The buck measures 5.75 x 5 x 2 inches and weighs about 126 grams (4.0511 troy ounces). The detachable belt consists of two parts is adjustable from approximately 33 inches to 36 inches. Graziella Laffi was born in 1923 in Florence, Italy to Gino Laffi, a silversmith and artist. Following her family tradition, Graziella enrolled in master classes after elementary school, focusing on design and painting. She next attended Escuela de Bellas Artes de Puerta Romana for three years, where Gino taught, and then to the Accademia di Belle Arti di Firenze, where she concentrated in architecture until the start of World War II. In 1947, Graziella, then twenty-four, immigrated with her parents to Peru. Gino later created a silversmith studio and showroom called Fabrica Laffi on Avenue Mexico, where Graziella initially learned her Craft. The Pre-Columbian culture in her adopted country inspired Graziella to travel and collect, which ultimately influence her design in the silver pieces. Graziella learned the metalworking techniques of the ancient Peruvian civilizations and rejected the current technology. She mostly used hammering, rolling and creating joints as the ancients do. As an ambassador of Peruvian culture, her work promoted the indigenous Peruvian art and rekindled the interest in its ancient heritage throughout South America, the United States and Europe. She exhibited her growing collection of Peruvian artifacts...

Beautiful pair of stirrups from colonial South America of the country of Perú, handmade from metalworker, silver material.

This bracelet or wrist band is signed by an unknown maker, but originated from Peru and dates to approximately 1960 and done in an Indigenous Inca style. Th...

A vintage Peruvian silver crown with three colored crystals in green, red and pink. Peru marked silver. The interior for head is 3" diameter.

A large vintage silver crown. From Peru with silver stamped maker's mark and silver 925. Interior circle is six inches in diameter.

A bespoken sterling silver necklace with five roundel bell shape of gradual sizes linked by joint chains, designed and made by Graziella Laffi, Lima, Peru, circa 1965. The subtly hammered roundels evoke a sense of history with the form found in pre-Columbian culture, yet the necklace appears beyond ethnic, it exuberates a confident and bold modernism. The necklace with Peruvian Cultural Ministry label to verso. Graziella Laffi was born in 1923 in Florence, Italy to Gino Laffi, a silversmith and artist. Following her family tradition, Graziella enrolled in master classes after elementary school, focusing on design and painting. She next attended Escuela de Bellas Artes de Puerta Romana for three years, where Gino taught, and then to the Accademia di Belle Arti di Firenze, where she concentrated in architecture until the start of World War II. In 1947, Graziella, then twenty-four, immigrated with her parents to Peru. Gino later created a silversmith studio and showroom called Fabrica Laffi on Avenue Mexico, where Graziella initially learned her Craft. The Pre-Columbian culture in her adopted country inspired Graziella to travel and collect, which ultimately influence her design in the silver pieces. Graziella learned the metalworking techniques of the ancient Peruvian civilizations and rejected the current technology. She mostly used hammering, rolling and creating joints as the ancients do. As an ambassador of Peruvian culture, her work promoted the indigenous Peruvian art and rekindled the interest in its ancient heritage throughout South America, the United States and Europe. She exhibited her growing collection of Peruvian artifacts...

A wide leather belt with sterling silver buckle and matching ornaments crafted by Graziella Laffi, Lima, Peru, circa 1965. The prominent silver articles feature the shape and motif rooted in pre-Columbian culture that inspired the artist's work. Mark on verso: PERU 950, extended size is 47 x 3 inches (119.4 x 7.6 cm) and weight is about 428 grams. Belt length adjustable between 27 to 38 inches. This lot with partially effaced Peruvian Cultural Ministry label to verso. Graziella Laffi was born in 1923 in Florence, Italy to Gino Laffi, a silversmith and artist. Following her family tradition, Graziella enrolled in master classes after elementary school, focusing on design and painting. She next attended Escuela de Bellas Artes de Puerta Romana for three years, where Gino taught, and then to the Accademia di Belle Arti di Firenze, where she concentrated in architecture until the start of World War II. In 1947, Graziella, then twenty-four, immigrated with her parents to Peru. Gino later created a silversmith studio and showroom called Fabrica Laffi on Avenue Mexico, where Graziella initially learned her Craft. The Pre-Columbian culture in her adopted country inspired Graziella to travel and collect, which ultimately influence her design in the silver pieces. Graziella learned the metalworking techniques of the ancient Peruvian civilizations and rejected the current technology. She mostly used hammering, rolling and creating joints as the ancients do. As an ambassador of Peruvian culture, her work promoted the indigenous Peruvian art and rekindled the interest in its ancient heritage throughout South America, the United States and Europe. She exhibited her growing collection of Peruvian artifacts...

A bespoken jewelry set including a necklace and a pair of clip-on earrings crafted by Graziella Laffi, Lima, Peru, circa 1970. The suite features linked square of green hardstone (appears to be a jade color granite or marble) set in the sterling frames with hanging long tubes of tassels. The design of the work was bold and confidently modern while also clearly inspired by Peruvian indigenous culture which imprinted famously in the artist's work. Marks to each: G. Laffi, PERU, 925. Graziella Laffi was born in 1923 in Florence, Italy to Gino Laffi, a silversmith and artist. Following her family tradition, Graziella enrolled in master classes after elementary school, focusing on design and painting. She next attended Escuela de Bellas Artes de Puerta Romana for three years, where Gino taught, and then to the Accademia di Belle Arti di Firenze, where she concentrated in architecture until the start of World War II. In 1947, Graziella, then twenty-four, immigrated with her parents to Peru. Gino later created a silversmith studio and showroom called Fabrica Laffi on Avenue Mexico, where Graziella initially learned her Craft. The Pre-Columbian culture in her adopted country inspired Graziella to travel and collect, which ultimately influence her design in the silver pieces. Graziella learned the metalworking techniques of the ancient Peruvian civilizations and rejected the current technology. She mostly used hammering, rolling and creating joints as the ancients do. As an ambassador of Peruvian culture, her work promoted the indigenous Peruvian art and rekindled the interest in its ancient heritage throughout South America, the United States and Europe. She exhibited her growing collection of Peruvian artifacts...

Cuzco school, 18th century: An angel. Unsigned. Oil on canvas. 51 × 40 cm. Unframed.

Fine and detailed craftsmanship is put into this set consisting of a Peruvian panel bracelet and matching necklace. Both pieces are fully hallmarked and dating from the 1970s. The pa...

A stunning choker style necklace in sterling silver by Graziella Laffi (1926-2009) Lima, Peru, circa 1960s. The bold necklace showcases an oversized plate...

Large oil painting of the holy family on hand woven canvas. Peruvian or Bolivian. Acquired from an estate in the San Francisco Bay Area f...