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Origine Expert est une société spécialisée dans l'expertise d' objets art de l'Amérique précolombienne, d'Afrique, d'Océanie, des aborigènes d'Australie, des peuples de l'Insulinde, de l'Extrême Orient et de l'archéologie du Bassin Méditérannéen, ainsi qu'en Meubles et Objets d'Art. Origine Expert n'a aucune activité marchande, ce qui garantit à nos experts une totale indépendance, et à nos achete

urs notre rôle de conseil, sans être juge et partie. Nous travaillons pour les commissaires priseurs, les institutions muséales, les douanes et intervenons dans les inventaires et partages après succession.

Ceremonial incense burner depicting a lord surmounted by a richly ornamented superstructure.Polychrome terracotta; broke...
23/06/2026

Ceremonial incense burner depicting a lord surmounted by a richly ornamented superstructure.

Polychrome terracotta; broken and reassembled; minor restorations; mica inlays in the eyes.
Teotihuacan, Mexico, circa AD 200–650.
45 × 30 × 22 cm

Cultural Property Certificate issued by the French Ministry of Culture, December 18, 2007.

Provenance:
Gaïa sale, Paris, December 4, 2007, lot 386.

This incense burner belongs to the ritual productions of Teotihuacan, the great metropolis of the Valley of Mexico, renowned for its monumental urban planning centered around the Pyramids of the Sun and the Moon and the Avenue of the Dead. Within this context, ceremonial practices occupied a central role, employing objects specifically designed for the diffusion of fragrant smoke during religious rites.

Incense burners were used to burn aromatic resins, particularly copal, whose smoke accompanied offerings and ceremonies, establishing a connection with the divine realm. The rich decoration, composed of floral motifs and sculpted relief elements, belongs to a symbolic repertoire associated with vegetation, fertility, and renewal.

The presence of a figure whose head is set back within the composition, framed by large lateral elements and surmounted by an elaborate superstructure, suggests an individual of elevated status, most likely connected to ritual or priestly functions.

CopalRituals MesoamericanReligion CeramicSculpture AncientAmericas ArtCollectors

Mask of a dignitary with a vigorous expression.Veined and speckled green stone; minor losses; marks of age.Olmec, Guerre...
22/06/2026

Mask of a dignitary with a vigorous expression.

Veined and speckled green stone; minor losses; marks of age.
Olmec, Guerrero region, 900–550 BC.
15.5 × 13.5 × 5.5 cm

Provenance:
Former Galerie Art des Amériques, Paris.
Desbenoit & Fierfort sale, Paris–Drouot, May 29, 2009, lot 41 (illustrated on the catalogue cover).

The Olmec civilization, whose core territory lay along the Gulf Coast of Mexico, exerted a profound influence throughout Mesoamerica, extending as far south as present-day Costa Rica. Their mastery of stone carving, particularly in green stones, reflects an exceptional lapidary tradition devoted to an iconography that remains, in many respects, enigmatic.

This mask, characterized by its pronounced frontality, wide-open eyes, and feline-inspired mouth, perfectly embodies this aesthetic. The tension of the volumes and the powerful expressiveness of the face convey an idealized vision of authority and status, articulated through a formal language of remarkable intensity that is characteristic of Olmec artistic production.

MesoamericanArt LapidaryArt AncientAmericas ArtCollectors MuseumQuality

Important incense burner depicting the god Chac on the vessel and a priest wearing the mask of the god Chac on the lid.T...
22/06/2026

Important incense burner depicting the god Chac on the vessel and a priest wearing the mask of the god Chac on the lid.

Terracotta with traces of polychromy; restorations in several areas; base of the lower section broken and reassembled.
Maya, Quiché region, Guatemalan Highlands, Late Classic or Early Postclassic period, circa AD 700–1100.
76 × 43 cm

Provenance:
Former European private collections.
Auction sale, Oger-Dumont, Drouot Paris, May 19, 2001, lot 170, expert Ferdinand Anton.

This two-part incense burner combines, on its body, the face of the god Chac and, on its lid, the figure of a priest wearing the deity’s mask, establishing a direct connection between the god and the officiant. Chac, the Maya god of rain and atmospheric phenomena, occupied a central place within the Maya pantheon, closely associated with the fertility of the land and the agricultural cycle.

In ritual practice, priests could wear the attributes or mask of a deity in order to embody its presence during ceremonies. The incense burner was used for burning resins, particularly copal, whose smoke accompanied invocations and facilitated communication with the divine realm.

The work is distinguished by the monumental scale of its composition and the richness of its decoration, where the superimposition of figures reflects a structured conception of ritual and of the relationship between humanity and the gods.

MayaReligion CeremonialArt CopalRituals AncientAmericas ArtCollectors

Seated crowned female figure. Terracotta with orange and brown slip; slightly broken and reassembled with a small loss; ...
21/06/2026

Seated crowned female figure. Terracotta with orange and brown slip; slightly broken and reassembled with a small loss; marks of age.

Veracruz, Mexico, AD 450–750.
31 × 18 × 9 cm

Provenance:
Acquired by Mr. Martinez from the former Galerie Arts des Amériques, Paris, between the late 1970s and early 1980s.

In the Veracruz region, on the Gulf Coast of Mexico, ceramic productions of the Classic period are distinguished by the quality of their modeling and the richness of their human representations. Adorned female figures, identifiable by their elaborate ornaments and headdresses, are generally associated with individuals of high status. The cross-legged seated posture, stable and composed, gives the figure a timeless presence. The careful attention devoted to the details of the jewelry and the surface treatment of the slip highlights the skill of the workshops, serving a controlled and hieratic representation.

ClassicVeracruz PreColumbianCeramics AncientAmericas ArtCollectors MuseumQuality

Hacha with crocodile totem. Volcanic stone, carved and semi-polished, with marks of use and age.Veracruz, Mexico, AD 600...
21/06/2026

Hacha with crocodile totem. Volcanic stone, carved and semi-polished, with marks of use and age.

Veracruz, Mexico, AD 600–900.
27 × 18.5 × 13 cm

Provenance:
Origine Auction sale, Bagnolet, September 26, 2015, lot 116.

In the Veracruz region, hachas are closely associated with the Mesoamerican ballgame, one of the most important ritual practices of the ancient Americas. Their exact function remains debated: some may have been worn as ceremonial regalia or used during ritual performances, while others were deposited as offerings. The presence of a human face with an open mouth combined with a stylized crocodile evokes the concept of an animal companion or protective spirit, expressing the strength and endurance of the player. The crocodile, linked to aquatic environments and primordial forces, embodies a powerful terrestrial energy that was highly valued in Mesoamerican thought. Through the tension of its forms and the stylization of its imagery, this work reflects a symbolic conception in which the game transcended mere competition and formed part of a complex ritual system.

CrocodileTotem StoneSculpture AncientAmericas RitualObject ArtCollectors

Priest associated with the cult of the Feathered Serpent. Beige terracotta with coffee-red and brown polychromy; slightl...
21/06/2026

Priest associated with the cult of the Feathered Serpent. Beige terracotta with coffee-red and brown polychromy; slightly broken and reassembled; losses and restorations; marks of age.

Veracruz, Mexico, AD 450–900.
36 × 25 × 11 cm

Provenance:
Piasa sale, Paris, November 28, 2000, lot 160 quater.

In the Veracruz region, the cult of the Feathered Serpent formed part of a broader Mesoamerican tradition that spread widely during the Classic period, finding expression both at Teotihuacan and within the Maya world. This divine figure, associated with vital forces, fertility, and cosmic renewal, developed regional variations while maintaining a strong and recognizable symbolic identity. The headdress, clearly evoking the Feathered Serpent through its sculpted relief elements, links the figure directly to this cult. The hands, directed toward the ground, convey a ritual gesture, possibly one of blessing or intercession. Through the richness of its ornaments and the strong frontality of the figure, the sculpture expresses an affirmed religious authority, reflecting a tradition in which the priest served as an intermediary between the realm of the gods and that of humanity.

MesoamericanReligion CeramicSculpture PreColumbianCeramics AncientAmericas ArtCollectors

Seated figure on a two-legged stool. Orange, beige, and coffee-red terracotta; marks of age.Colima, Western Mexico, 100 ...
21/06/2026

Seated figure on a two-legged stool. Orange, beige, and coffee-red terracotta; marks of age.

Colima, Western Mexico, 100 BC – AD 250.
52 × 23 × 22 cm

Provenance:
Piasa sale, Paris, April 11, 2000, lot 93.
Jouan SVV sale, Paris, April 30, 2006, lot 72.

In Colima culture, human figures are frequently depicted in simple attitudes associated with ritual practices. This youthful seated figure raises a hand to the mouth in a gesture that may suggest the ingestion of a substance, possibly hallucinogenic. Such practices are documented in Western Mexico and are generally understood within ceremonial contexts. The composition, both direct and restrained, emphasizes the gesture itself and the strong physical presence of the figure.

RitualPractices PreColumbianCeramics AncientAmericas ArtCollectors MuseumQuality

Warrior wearing armor and a bicorn helmet. Orange terracotta with beige decoration; marks of age.Nayarit, Western Mexico...
21/06/2026

Warrior wearing armor and a bicorn helmet. Orange terracotta with beige decoration; marks of age.

Nayarit, Western Mexico, AD 120–250.
23.5 × 10.5 × 8 cm

Provenance:
Acquired from Galerie Mermoz, Paris, September 23, 1981.

In the cultures of Western Mexico, representations of warriors reflect the importance of conflict and the prestige attached to military status. Armed figures, often equipped with clubs or impact weapons, embody an elite responsible for the defense and affirmation of the community. The body paint visible on the face refers to ritual preparations preceding combat, serving both to express identity and to signify the warrior’s rank. The stylized treatment of the body, combined with a stable frontal posture on a tripod support, gives the figure a commanding presence and a strong formal clarity.

CeramicSculpture MilitaryElite PreColumbianCeramics AncientAmericas ArtCollectors

Seated woman with ceremonial body painting.Polychrome terracotta; head broken and reattached; marks of age.Nayarit, West...
21/06/2026

Seated woman with ceremonial body painting.

Polychrome terracotta; head broken and reattached; marks of age.
Nayarit, Western Mexico, circa 500 BC – AD 250.
31.5 × 18 × 14.5 cm

Provenance:
Gaïa sale, Paris, May 27, 2008, lot 415.

This figure depicts a seated woman holding a vessel. Her body is entirely decorated with painted motifs arranged in bands and dotted patterns, reflecting well-documented traditions of body painting.

Applied directly to the skin, such designs formed part of the visual presentation of individuals during ceremonies, marking their role, status, or group affiliation. The ornaments and elaborate headdress further contribute to this codified appearance.

The work is distinguished by the richness of its painted decoration and the clarity of its forms, revealing a particular attention to the appearance and presence of the figure.

BodyPainting PolychromeCeramics AncientAmericas ArtCollectors MuseumQuality

Mask with a commanding face. Beige and coffee-red terracotta; broken and reassembled; minor restoration not exceeding ap...
20/06/2026

Mask with a commanding face. Beige and coffee-red terracotta; broken and reassembled; minor restoration not exceeding approximately 10% of the total mass of the work.

Bahía, Ecuador, 500 BC – AD 500.
16 × 19 cm

Provenance:
Sens Enchères sale, Sens, January 22, 2005, lot 131.

The Bahía culture, which flourished along the Ecuadorian coast, is distinguished by an expressive ceramic tradition emphasizing faces with strongly defined and carefully structured features. This mask reflects a particular concern for identity and human representation. The assertive modeling of the face, with its clear and balanced volumes, gives the work a powerful sculptural presence, characteristic of the artistic productions of this culture.

PreColumbianCeramics AncientAmericas RitualMask ArtCollectors MuseumQuality

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