Pre-Columbian Furniture

With a worn finish, this round orangeware bowl is a wonderful example of Pre-Columbian pottery. The delicate bowl has a squat form and tapered lip. Painted with stokes of red slip an...

A ceramic stirrup vessel pot from late Moche culture circa 500-700AD in nowadays Northern Coast of Peru. The hollow vessel features a rounded body and...

A collection of two fragments of antique pre-Columbia textile panel from Chimu or Chancay culture located in Central and Northern Coast of nowadays Peru. The panels were presented in...

Very colorful complete Nazca unku in multi-color camelid wool with lozenge diamond and zig-zag design patterns. The beautiful blue and light pink color makes this textile very unique...

Chimu brown gauze shirt with multiple red and white fringe lines forming V designs like the one around the neck, with very rarely seen sleeves and border fringe in the same material.

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...

Pre-Columbian Art of South America by Alan Lapiner. 1st Edition, 1st publication. Published by Abrams, New York, 1976. New York, Abrams, 1976. Large qu...

1950's Rare Mexican Aztec blown glass bookend decorative plaque decipting Aztec healing God Ticitl, original box new a gift for excecutives of the Bayer corp. Schering pharma.

A large woven textile panel from Nazca culture on the south coast of nowadays Peru circa 600 to 800AD. The panel with short fringes on the end used to be half of a sleeveless tunic (similar to poncho) in which two similar pieces were joined together. Professionally mounted and conversed on a linen-backed wood frame and presented in an acrylic shadow box. The textile was finely woven from a camelid fiber dyed with natural pigments. The work strikes the viewer immediately with its unexpected modernity. The tri-colored geometrical blocks created a zigzagged step design that is visually minimal but bold at the same time. Its repetition evokes a lyrical visual rhythm that is unparallel in the ancient textile art and could easily mistake it as an abstract art from the 20th century. The zigzag step design was one of the unusual abstract motifs used by the pre-Columbian weavers from Nazca, who created some of the most mysterious and soul-stirring work with a minimalism aesthetic that was rarely seen in the ancient world. Considering that the artists were completely isolated without the influences of other cultures, their intrinsic creativity and artistic vision are even more impressive. Reference: James W. Reid, The Lee M...

A framed Pre-Columbian hand-woven gauze panel with open lattice design from Chancay culture (10-15th century). Located in Northern Central coast across three valleys: Huaura, Chancay...

Bold color and dramatic design make this style a favorite among collectors of modern art. Excellent condition. Several minor holes are effectively backed with a compatible color, and...

A pre-Columbian ceramic stirrup vessel in Cupisnique style circa 700-500BCE. This ancient vessel features a robust squatted body and a short thick stirr...

A nicely framed fragment of antique Pre-Columbian textile that depicts a stylized figure in a geometrical background. Linen backing. The woven fragmen...

Magnificent Pre-Columbian multi-color Chancay textile with animal figures in cubist form. The Chancay are known more for their textiles than for their ceramics. Textiles from elite Chancay tombs include elaborate gauzes, embroidery, painted plain weave and tapestry, and three-dimensional fibre...

A very well-crafted pottery vase Raquira ( Boyaca ) with Feline inspired handles depicting the bodies and heads of cats from the Pre - Colombian period. Hand painted in dark brown, b...

Pineapple onyx and green onyx Edition of 10 + 3 AP **As this work is made of natural stone, color and veins may vary from the photo** Handcrafted in Mexico Artist: Coco Brun Maker: ...

Extremely detailed yellow embroidered Pre-Columbian textile fragment with hints of red from the Chancay culture in Peru. This piece is framed in a black shadowbox. It is a wonder to behold antiquities such as a Pre-Columbian textiles, an authentic piece of art that has been preserved for centuries and that survives generation after generation. Textiles are infinitely more delicate than wood, metal, or rock artifacts -- so the existence of these pieces after hundreds and thousands of years is exceptional. These textiles maintain their vibrant colors, natural threads, and their unique, historical designs. Provenance: This textile comes from the collection Ulrich Hoffmann, Stuttgart and former collection of the archaeologist Ferdinand Anton...

An antique pre-Columbia textile fragment likely from Peru Chancay culture in Central coast that thrived in the late Intermediate period/ late Horizon, A.D. 1200-1550. Abstract geomet...

Yupanas were used as calculators or abaci during the Inca Period. This is one of the finest and monumental an example of a Inca table Royal Stone Yupana or...

Papagayo polychrome pottery bowl, Mandador variety. Round bottomed bowl rests on three animal headed rattle legs. Exterior painted wide band with two stylized plumed serpents of jagu...

Two antique textile fragments and two painted textile tools spindle needle framed in a pair matching lucite shadow boxes. The textiles were li...

Red travertine and white Venetian marble. Edition of 10 + 3 AP **As this work is made of natural stone, color and veins may vary from the photo** Handcrafted in Mexico Artist: Coco ...

A large Nazca-Wari woven textile panel known as Llika or Awayo (shawl) from Ica Valley on the south coast of nowadays Peru. Professionally mounted and conversed on a linen-backed wood frame and presented in an acrylic shadow box. Shawls with this step design were identified as made from the period of 700 to 1100 AD during the transitional period when Nazca went under the expanded rule of the Wari empire. The textile was finely woven from a camelid fiber dyed with natural pigments. The work strikes the viewer immediately with its unexpected modernity. The simple, bold and repetitive geometry with the scintillating color blocks created a lyrical visual rhythm and could easily mistake it as an abstract art from the 20th century. The step design was one of the unusual abstract motifs used by the pre-Columbian weavers from Nazca, who created some of the most mysterious and soul-stirring work with a minimalism aesthetic that was rarely seen in any other ancient textile art. Considering that the artists were completely isolated without the influences of other cultures, their intrinsic creativity and artistic vision are even more impressive. Provenance: From the collection of Lee M...

Pre-Columbian ornamental banner with fringes composed of warriors/divinities holding figures in their hands, surrounded by geometric frets. Two-headed birds in alternating colors decorate the top and bottom of the banner. This one-of-a-kind tapestry has preserved its vibrant original colors and fibres. Professionally cleaned. Provenance: Private European Collection Textiles from elite Chimu tombs include elaborate gauzes, embroidery, painted plain weave and tapestry, and three-dimensional fibre sculptures. Among others, shades of yellow and brown, scarlet, white, lavender-blue and olive green were the colors used. Birds and a deity wearing a crescent-like headdress have been the most popular decorative motifs. Many Chimu textiles...

Two small fragments of pre-Columbian textiles in shadow box frames. Both have strong geometrical patterns in the style of Nazca culture, located in the southern coast of nowadays Per...

Earth tones adorn this striped pattern pre-Columbian textile. It is a wonder to behold antiquities such as a pre-Columbian textiles, an authentic piece of art that has been preserved for centuries and that survives generation after generation. Textiles are infinitely more delicate than wood, metal, or rock artifacts...

Natural pink tourmaline necklace (167 gms) with rare gold Veraguas/Diquis supernatural drummer. Very fine example of ancient, Precolumbian goldwork form Central America, either Costa Rica or Panama. 111 grams of blush pink gold made with “lost wax” technique. The music he plays is not for entertainment, but rather to create magic, casting a spell or summoning other supernatural beings. Healing was the most important function of shamans, both the mortal and the immortal kind. Such a magical pendant...

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...

Complete Nazca Unku in vibrant red with blue, green, yellow and white squares forming V design around the brown neck opening. The multicolor squares in stepped design make a diamond ...

Inca Mantle with 16 figures in cubist form with multi-color fringes. This pieces with a Certificat de Bien Culturel from France. For the Incas finely worked and highly decorativ...

Pre-Columbian textile fragment with wave like patterns woven in bright colors. Framed in a black shadow box. It is a wonder to behold antiquities such as a pre-Columbian textiles, an authentic piece of art that has been preserved for centuries and that survives generation after generation. Textiles are infinitely more delicate than wood, metal, or rock artifacts - so the existence of these pieces after hundreds and thousands of years is exceptional. These textiles maintain their vibrant colors, natural threads, and their unique, historical designs. Provenance: This textile comes from the collection Ulrich Hoffmann, Stuttgart and former collection of the archaeologist Ferdinand Anton...

Designed for the outdoors, at the crossroads between past and present, this new series based on the ancient savoir faire of our original woven tule collection has been redeveloped an...

World's earliest known pyrography vessel, Nazca Culture , circa 400 AD This unique work of art is a hand-incised half gourd using an early pyrographic (pyrography) wood burned techn...

Nazca Tunic/Poncho of stepped design and fringe in yellow ocher, burgundy and brown. Perfect condition, museum quality.

Complete Pre-Columbian Nazca textile with stepped zig-zag design in yellow, ochre red, and brown/black shades with yellow fringes.

Pineapple onyx and white Venetian marble. Edition of 10 + 3 AP **As this work is made of natural stone, color and veins may vary from the photo** Handcrafted in Mexico Artist: Coco Brun Maker: Sten Studio Editor: Galeria Territorio Inspired by the embedded shapes that compose the masks of Mayan dignitaries, particularly the large Mayan earrings, also known as "earlets" or "pendeloques," this series showcases vases with an oval body, highlighting curves and complex shapes. Each piece is meticulously handcrafted and accentuated by two straight fins, each pierced with a hole reminiscent of the typical earrings of Mayan masks...

Magnificent Ceremonial Inca Tokapu of Multicolor Geometric Diamond Shapes. Tokapu were textiles worn by the Inca elite consisting of geometric figures enclosed by rectangles or squa...

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...

Drawing inspiration from the prehispanic ball game, the Ulama Table is a sculptural masterpiece that pays tribute to Mexico’s rich cultural heritage. The circular structure of the ta...

Complete Pre-Columbian Textile panel woven in plain weave with interlocking and alternating squares in bright shades, with elongated stepped diamonds, looped fringe on the short ends...

Impressive pre-columbian Lambayeque textile ceremonial panel. Lambayeque, Peru. Mint condition. Museum piece. Ex. Sotheby’s, New York. The Lambayeque civilization (aka Sicán) flou...

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...

Magnificent Pre-Columbian Nazca Textile Poncho with a Geometric Step Design in Vibrant Ochre, Red, Green and Brown colors with its Original Fringes. Moun...

Brown Chancay coca bag with shamans and zoomorphic figures depicted in the centre on a in various colors on a red background. This piece is accompanied by ...

Impressive Nazca Cushma of checker works design composed of a red and yellow cross over the green background. A true collector's piece. Provenance: From the Collection of Guill...

Chancay painted panel with two figurines side by side. This is a complete panel with two rectangular box-headed personages on a busily packed background of geometric motifs of circle...

A high karat heavy sheet gold human face mask with large almond-shaped eyes and recessed pierced pupils. Multiple small perforations along the upper and lower edges for attachment. L...

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...

A large sheet gold mask depicting a stylized human face having an individually fashioned and applied nose. Large low relief repousse eyes and rectangular mou...

Beautiful Pre-columbian Mantle with a Central Kilim Type Tapisserie of Multicolor Designs with Priests Upraising their Arms Toward the Skies. It is surrounded by 2 Long Red Plain Cot...

Funerary Post with female figure Chimu, Peru, 1st Millennium AD. Wood Height 106 cm Provenance - Jean Pierre Cottier and Fiorella Cottier-Angeli Collection, Geneva, Switzerland. Acquired by Yossef Maiman between 2000 and 2008. - Private collection, Israel, until 2024. Condition Good state of preservation, no restorations. Published - ROSENZWIG, A.; WOLOSZYN, J. Z. Offerings for the Afterlife. Peruvian Pottery and Artifacts from the Maiman Collection. AMPAL/MERHAV Group of Companies. Israel. 2008. Fig. 102. Description Funerary pole topped by a female figure in the round, both carved from a single piece of wood. This type of object was used as a grave marker and was especially important in the desert areas of pre-Columbian Peru, as it made it possible to easily locate the burial site during funeral rituals or ancestor worship. Figurative funerary poles are rare among Chimú wooden statuary, although they share formal characteristics with the more common freestanding sculpture. The face is polychrome, predominantly a bright red pigment of cinnabar-colored resin. The figure is shown standing, with legs together and arms extended at both sides of the body, in a conventional, hieratic, and solemn posture. The figure is monolithic, although the main parts of the anatomy are perfectly differentiated, worked with a synthetic and geometric language. The obvious disproportion of the head, which is very large relative to the body, responds to a symbolic intention that probably alludes to the identity of the figure to whom the tomb belongs. The face is highly expressive in its synthesis, with almond-shaped eyes painted dark brown in contrast to the red of the face, framed by raised eyelids and nestled beneath eyebrows drawn with a fine beveled line. The nose is very prominent, completely flat, and with a curved profile, and the mouth stands out for its expression: open, deeply hollow, and framed by long nasolabial furrows worked in relief, which begin at the base of the nose and end at the chin, which protrudes slightly from the plane. The large ears, flat on the forehead and convex at the back, are decorated with an incised spiral design representing cartilage. The head ends in a gentle curve, probably representing a bonnet, which is painted in the same brown tone as the eyes. The body is depicted nude, with the breasts and pubis worked in flat relief, forming a formal interplay of inverted triangles. The joints of the arms and legs, as well as the fingers and toes, are clearly indicated, although without seeking naturalistic detail. A Chimú funerary pole is preserved in Princeton, also topped by a female figure, which displays significant similarities to the piece under study, both in posture, proportions, and overall composition, as well as in the polychromy and facial expression, with an open, hollow mouth. Wooden statuary is a little-known manifestation of Chimú art, given the few preserved examples due to Peru's climatic conditions. Although some have been found in the coastal deserts, thanks to their dry climate. In general, Chimú anthropomorphic sculptures follow a conventional model showing the figure standing frontally, with accentuated bilateral symmetry. These sculptures generally represent men, with female figures being much rarer, and they are rarely depicted clothed. In the few examples found with carved clothing, designs characteristic of the well-known Chimú textile art can be seen, as is the case with a funerary pole, also from Princeton, which includes animal figures on the sleeves of the tunic, and another auctioned in Paris in 2013, which displays a fringed profile and various geometric embroideries. The Chimú culture was born on the northern coast of Peru after the fall of the Huari Empire, around 1100 AD, and developed until approximately 1400. Although it is considered the heir of the Moche culture, Chimú mythology places the origin of its people in the arrival on the Peruvian coast of the fleet of Taycanamo, the mythical founder and first ruler of the kingdom, who would have combined political and priestly functions. Their territory, which once covered some 1,300 km, was centered in the Moche River valley and their capital was the great city of Chan Chan. Most of the territory is a very arid coastal desert, although it is crisscrossed by numerous rivers that bring water from the Andes, creating fertile valleys in their wake. Thanks to the use of enormous aqueducts and an extensive network of irrigation canals, the Chimú reclaimed large tracts of agricultural land from the desert, where they grew cotton and all kinds of foodstuffs. The territory of the Chimú kingdom was also crisscrossed by trade routes, which had their caravan center in Chan Chan and transported subsistence goods as well as luxury items. Many Chimú cults and rituals were oriented toward promoting fertility in the fields, given the aridity of the territory, and closely linked religion and politics. The main propitiatory rites for agricultural fertility were based on the veneration of the mummies of the ancestors of the reigning dynasty. Chimú artistic production includes featherwork, wood carving, textiles, and shell and hard stone work. Thanks to the influence of the neighboring Lambayeque people, who would eventually join the Chimú Empire, goldsmithing techniques were perfected for working with copper, silver, and gold. These techniques were used to create luxury objects such as vases, ear ornaments, and masks worn by the noble classes during ceremonial ceremonies. Chimú pottery...

Exceptional Banner of Pageantry with Multicolor Tapisserie Squares with 8 Weave Ornaments in Relief. On the inferior part the ornaments float with the wind. (2 are missing) Very good...

Pre Hispanic earth ware vessel from the pre-Inca Chimu culture. Beautiful ancient vessel, created in northern coast of Peru around the 900 / 1470 AD. by the Chimu culture. This is...

Hanging Jaguar Head. Mixteca, México c. 1200 - 1551 AD Length 5.5 cm, height 4 cm and width 3.5 cm. Condition Good condition, it has a blow on the right ear and a scratch on the ...

An intact shirt with motif of rows of feathers in several shades of mustard yellow on a red ground, depicted as they would have been attached in rows in an actual feather textile.

We're honored to be partnering with renown Mexican designer Raul Cerda! Founded in 2013, Studio Cerda is a creative studio dedicated to Industrial Design, architecture and interio...

Sotheby's Pre-Columbian Art Sales Catalog, New York, November 18th 1991. Amazing photos of incredible pieces of spiritual artistry, almost all of it no doubt looted, and also the o...

Anthropomorphic idol type M16 Mezcala, State of Guerrero, Mexico 350 - 100 BC Stone Height 20 cm and 24 cm with the stand. Condition Good state of preservation, no restorations....

Pre-Columbian Indigenous style ceramic figure vessel glazed and painted in multiple shades of brown