Patrick Kapty

@patrickkapty.bsky.social

1986 Followers 1955 Following

Author, historian, curator, reseller - I sell wearable and other art, and I am fascinated by cultures and artifacts from around the world! My shop is: California Dreaming Art Jewelry Etc: https://www.rubylane.com/shop/california-dreamin-art-jewelry-etc

A double ushabti is a rare ancient Egyptian funerary artifact consisting of two mummiform figures carved together from a single piece of stone or wood. Unlike standard single ushabtis meant to act as manual-labor servants in the afterlife, double ushabtis typically depict two close family members—such as a husband and wife, or a mother and her son—resting together for eternity. Benermerut was an ancient Egyptian official during the 18th Dynasty under Pharaoh Thutmose III, serving as overseer of the treasury, chancellor, and chief of the gold and silver houses.
In its beginnings, Wari pottery was characterized by the production of large vessels used as funerary offerings, bearing a marked Tiahuanaco influence. Subsequently, during a second phase and as a result of its expansion and interaction with other territories, Wari ceramics transformed, moving away from crafting large votive vessels to the production of smaller pieces with a wider variety of shapes. In this piece, which shows clear Nazca influence, an anthropomorphic figure with feline features is depicted. The elements on top of the head catch the eye and might look like ears at first glance; however, it has been proposed that they represent a hallucinogenic mushroom, likely Calvatia cyathiformis, a common species in the Andean highlands. This motif also frequently appears depicted in the ceramics of the Moche culture.
Chupícuaro two-headed figures are rare Mesoamerican ceramic artifacts from the Preclassic period (roughly 500–100 BCE) originating in modern-day Guanajuato, Mexico. These hand-modeled clay figures depict a single stylized, typically female, body with two distinct heads sharing a single torso. Chupícuaro figures are highly prized for their surreal features, particularly their distinct "coffee-bean" shaped eyes, oversized heads, and geometric, red-and-cream body paint or tattoo patterns. Two-headed or double-faced figures are believed to symbolize the concept of duality—such as life and death, earth and sky, or the supernatural realm. It reflects a fundamental Mesoamerican worldview that balanced interactions between opposing forces gave rise to the universe. These figures were frequently used as grave offerings. They are closely tied to the themes of fertility, regeneration, and the cycle of life.
Veracruz Seated Figure in Ceremonial Attire South Central Region, Late Classic, circa AD 550 - 950 Ceramic Recently (18 June 2026) sold at a Sotheby's auction for approximately $21,000 despite opposition from Mexican authorities regarding the sale of pre-Columbian artifacts. Provenance Robert and Marianne Huber, Dixon, Illinois, acquired from a dealer in Albuquerque, New Mexico, in 1979 Wally and Brenda Zollman, Indianapolis, acquired from the above on November 14, 1982 Ancient Art of the New World, New York Paul A. Cohen, Belmont, Massachusetts, acquired from the above on June 11, 1998 Thence by descent to the present owners Exhibited Hillwood Art Gallery, Long Island University, Brookville, New York, Ceremonial Art of Ancient Veracruz, November 27, 1987 - February 7, 1988, and the subsequent symposiums: The Fine Arts Museum of Long Island, Hempstead, New York, Veracruz Connection: The Impact on Mesoamerican Civilization, February 13, 1988 - March 27, 1988; The Fine Arts Museum of Long Island, Hempstead, New York, Veracruz and the Development of Mesoamerican Civilization, July 4 - 8, 1988 Indianapolis Museum of Art, The Face of Ancient America: The Wally and Brenda Zollman Collection of Pre-Columbian Art, December 3, 1988 - February 26, 1989; also traveled to: Indiana University Museum of Art, Bloomington, June 3 - September 10, 1989 Literature Marilyn M. Goldstein, Ceremonial Sculpture of Ancient Veracruz, Brookville, New York, 1987, p. 66, cat. no. 95 Lee A. Parsons, John B. Carlson, and Peter David Joralemon, The Face of Ancient America: The Wally and Brenda Zollman Collection of Pre-Columbian Art, Indianapolis, 1988, pp. 152-153, cat. no. 102 mayavase.com, A Precolumbian Portfolio, inv. no. K3612
Created around 3000 BC during Cyprus's Chalcolithic Period, the figurine was carved from green picrolite, a stone found in the Troodos Mountains. It was discovered near the village of Pomos by Cypriot archaeologist Porphyrios Dikaios in the early 1930s. Standing only 15.3 cm (6 in) tall, the idol represents a stylized female figure with outstretched arms. Hundreds of similar cruciform figurines have been found across Cyprus, but this is the finest and most famous example ever discovered. Its tiny self-shaped pendant suggests that miniature versions were worn as personal amulets, perhaps symbolizing protection, fertility, identity, or social status. Their true meaning, however, remains one of the island's greatest prehistoric mysteries. Today, the original Idol of Pomos is preserved in the Cyprus Museum in Nicosia. Its importance is so great that it was chosen to appear on the €1 and €2 Cypriot euro coins, making it one of the very few prehistoric sculptures ever featured on modern currency.
Usobuki, also known as Hyottoko, is the male character of traditional Japanese Kyōgen and is usually paired with the female character Okame. Usobuki is often referred to as “the whistler” due to his facial expression of pursed lips. His countenance is remarkable for its expression of forceful effort and his puffy cheeks, bulging eyes and furrowed brow have been used to portray a wide range of characters within the Kyōgen repertoire. Usobuki masks have been used to depict everything from comical human characters to the spirits of plants, fish and insects, including mosquitoes, mushrooms and even pine resin. Perhaps most remarkable of all is Usobuki’s appearance as a sinner on his way to hell in a play entitled “A Sinner with References”. Kyōgen theatre (lit. wild words) is thought to stem from Sarugaku, a form of Chinese entertainment brought to Japan around the 8th century. It was a popular form of entertainment which included such elements as mime, acrobatics and magic encompassing both drama and comedy. By the 14th century, these contradictive forms of Sarugaku had become known as Noh and Kyōgen, respectively.
This mask is an Eharo dance mask originating from the Elema people of the Papuan Gulf in Papua New Guinea. It is crafted from bark cloth (tapa) stretched over a plant fiber or cane frame, then painted with natural pigments. These masks were typically worn during the Hevehe cycle, a long initiation ceremony, to represent spirits, totemic beings, or comical characters.
Dish with three dragons chasing flaming pearls amid clouds, 1701–1730. Porcelain, 24.8 cm diameter. This striking dish dates back to early 18th century China where it was created in the Jingdezhen kilns. It is decorated with overglaze enamels, a technique that allows for more vibrant colours and intricate details. It features green and aubergine coloured dragons chasing flaming pearls among the clouds. The motif of a dragon chasing a flaming pearl among clouds is one of the most iconic and profound symbols in traditional Chinese art. In Chinese philosophy, the flaming pearl (often depicted as a glowing, swirling orb surrounded by flames) symbolizes spiritual truth, wisdom, knowledge, and enlightenment. In these depictions, the dragon is always stretching forward but never quite catches the pearl. This signifies that the pursuit of wisdom and higher truth is an ongoing, lifelong journey rather than a final destination. 2. Cosmic Balance (Yin and Yang)Together, the elements form a perfect representation of cosmic harmony and the balance of dualities: The Dragon (Yang): Represents dynamic energy, strength, masculine power, motion, and the sky. The Pearl (Yin): Represents quietude, mystery, spiritual essence, and is traditionally associated with the moon. In Chinese mythology, dragons are benevolent masters of the weather, wind, and rain rather than destructive monsters. The Clouds: The clouds represent the celestial realm and the vital life-giving vapors. Rain and Thunder: The pearl was historically tied to thunder. A dragon interacting with the pearl amidst the clouds signifies the summoning of rain to ensure fertile lands, a good harvest, and general prosperity for the kingdom. When used on court artifacts (like the plate pictured), the motif directly symbolized the Emperor's absolute power and irrefutable wisdom. The supreme ruler was viewed as the living dragon on earth, constantly guarding or striving for the ultimate welfare and truth of his empire.
Op Art is short for Optical Art, an abstract art form that uses optical illusion as a primary element. Characterized by the bending or warping of lines and altered perspective techniques. Early artists that experimented with these techniques were Victor Vasarely, M. C. Escher, and Josef Albers. As the form progressed additional Op Art artists entered the scene, including Bridget Riley, Jesus Rafael Soto, and Richard Anuszkiewicz, among others. Victor Vasarely is considered the founder of the Op Art style. The Op Art movement officially began in 1955 when Vasarely and other contemporaries held a group show at the Galerie Denise René in Paris. This show was the first time that optical art was truly on display, although many art historians consider works like Zebras to be the precursor to this movement. Optical Art became more and more popular in the late 50s and throughout the 60s, influencing other artists of the era as well as advertising and graphic design. Vasarely and other Op artists grew their fame and their skills during this period, hosting shows around the world. Vasarely not only experimented with geometric shapes and colors on canvases but also branched out into sculpture. He even worked on architectural projects, including the French pavilion at the 1967 World Expo in Montreal.
A Zamble mask is a sacred, mythical headpiece created by the Guro people of the Ivory Coast in West Africa. It depicts a powerful composite spirit that blends the graceful horns of an antelope with the fierce jaw of a leopard. Zamble is a central male spirit accompanied by two other iconic masks: his beautiful wife, Gu, and his wild, rambunctious brother, Zuali (often spelled Zauli). The mask is heavily associated with ancestor worship. It is used during sacred rituals, commemorative feasts, and "second funerals" to honor deceased community members or detect harm and settle disputes. Because the Zamble spirit is capricious and powerful, it is typically worn by the community's best athletic dancer, who performs rapid, physically demanding, and highly acrobatic routines. The masks feature an elongated face, heavily detailed tribal scarifications, and an open mouth representing the exhaustion of a hunt.
This is a Maya ceramic vase dating from 600-900 CE. It is fashioned in the form of a hunchbacked dwarf. The figure is displayed at the Chilean Museum of Pre-Columbian Art in Santiago, Chile. It features painted details including jaguar skin clothing and large ear spools, indicating high status
A wonderful vintage 1960s 70s signed handmade sterling silver & green calcite Mexican modernist ring from Guadalajara - size 7 US, measures 1.25" diameter at top! Available... https://www.rubylane.com/item/1879775-7322/Vintage-1960s-70s-SIGNED-Handmade-Sterling #handmade #mexicanmodernist #1960s #mexicansilver #guadalajara #AGL #cocktailring #art
This object is a Pre-Columbian ceramic warrior figure from the Jalisco culture of West Mexico, dating roughly between 300 BC and 250 AD. The sculpture is crafted in the Ameca-Etzatlán style, featuring a burnished surface and traces of polychrome pigment. It depicts a warrior in a protective or defensive stance, wearing a cone-shaped helmet and holding a club across its body. These figures were typically placed in shaft tombs as guardians of the dead in the afterlife.
Granulation is a goldsmithing technique where tiny gold spheres (granules) are fused to a metal surface to create intricate patterns. For the Etruscans (7th–5th centuries BCE), this was the pinnacle of luxury, wealth, and technical virtuosity. It was used to create highly prized status symbols and protective amulets buried in elaborate tombs. Etruscan granulation is significant to both ancient status and the history of metallurgy for several key reasons: The Etruscans achieved "dust granulation" by creating granules as tiny as 0.14 mm in diameter. They permanently bonded thousands (sometimes up to 120,000) of these spheres to a gold base without using visible solder, a feat of colloidal fusion that baffled scholars for centuries. Granulated gold items—such as large disc fibulae (ancient safety pins), pendants, and earrings—were ultimate displays of affluence. They were frequently placed in opulent tombs to denote the wearer's high social standing in the afterlife. Beyond aesthetics, the intricate patterns—often incorporating animal motifs like lions and geometric symbols—carried religious meaning. They were worn as amulets meant to enhance prosperity, ward off evil spirits, and offer divine protection.
This hand-modeled terracotta figurine is a pre-Columbian ceramic artifact originating from the Tlatilco culture in the Valley of Mexico. The figure dates to the Early Formative or Preclassic period, approximately 1200–900 BCE. The two-headed "pretty lady" design is thought to embody duality, cosmic balance, or liminal, supernatural states, and they were often found in burials. The piece is constructed from hand-molded clay, decorated with red pigment and incised details to depict hairstyles and facial features. Bicephalic (two-headed) figures are rare compared to single-headed figurines, indicating they held specific ceremonial or symbolic importance. The Valley of Mexico (or Basin of Mexico) is a high-altitude natural basin in central Mexico enclosed by mountains and volcanoes. Sitting at an average elevation of about 2,240 meters (7,350 feet), it was historically a region of interconnected lakes. Today, it is nearly entirely occupied by the sprawling metropolitan area of Mexico City. The valley is a closed basin, meaning it has no natural river outlets to the sea. It features a unique, flat lacustrine plain surrounded by the peaks of the Cordillera Neo-Volcánica, including the famous Popocatépetl and Iztaccíhuatl volcanoes. Because the original five interconnected lakes (including Lake Texcoco) were largely drained beginning in the 17th century to prevent flooding and make room for urban sprawl, the area now sits on mostly clay soils.
Rabbit on Mortar & Pestle netsuke carved ivory Edo period, 18th century CE Japan Tokyo National Museum #handmade #rabbit #mortarandpestle #carved #ivory #netsuke #edoperiod #18thcentury #Japan #tokyonationalmuseum #antique #japanesecraft #japaneseantiques A netsuke (pronounced "nets-keh") is a miniature Japanese sculpture. Because traditional Japanese kimonos had no pockets, men suspended personal items (like tobacco pouches or medicine cases) from their sashes (obi) using silk cords. A netsuke served as the functional toggle or counterweight at the top of the cord to keep it from slipping.
Graciela Iturbide (b. 1942, Mexico City, Mexico) is one of Mexico’s most celebrated photographers, known for her poetic black-and-white images that explore indigenous traditions, gender, ritual, and daily life across Latin America. Working primarily in documentary photography, her practice combines ethnographic observation with lyrical composition, offering profound reflections on identity and cultural continuity in Mexico and beyond. Initially studying film, Iturbide turned to photography under the mentorship of Manuel Álvarez Bravo, with whom she worked as an assistant in the early 1970s. Her distinctive voice emerged through projects documenting indigenous communities and rural traditions, such as her photographs of the Seri people in the Sonoran Desert and the Juchitán series depicting Zapotec women in Oaxaca—published in her influential book Juchitán de las Mujeres (1989). Her photographs have been shown in solo exhibitions at institutions such as the Centre Pompidou, Paris (1982); San Francisco Museum of Modern Art (1990); Philadelphia Museum of Art (1997); J. Paul Getty Museum, Los Angeles (2007); Fundación MAPFRE, Madrid (2009); Fotomuseum Winterthur (2009); and Barbican Art Gallery, London (2012). Iturbide has received numerous honors, including the W. Eugene Smith Memorial Foundation Award (1987), the Grand Prize Mois de la Photo, Paris (1988), a Guggenheim Fellowship (1988), the Hugo Erfurth Award, Leverkusen (1989), the International Grand Prize, Hokkaido (1990), the Rencontres Internationales de la Photographie Award, Arles (1991), the Hasselblad Award (2008), and the National Prize of Sciences and Arts, Mexico City (2008). She also holds honorary degrees from Columbia College Chicago (2008) and the San Francisco Art Institute (2009). Iturbide continues to live and work in Mexico City.
EhecatI-Quetzalcoatl figure carved basalt, pigment residue c. 1325-1521 CE Aztec (Mexica) culture Mexico #handmade #carved #basalt #stone #pigment #residue #ehecatl #quetzalcoatl #godofwind #figure #sculpture #statue #art #precolumbian #prehispanic #aztec #mexica #Tenochtitlan #cdmx #religion This is the God of Wind and the bird beak mask identifies him as a manifestation of the feathered serpent. He is depicted in a squatting position with hands on his knees. The ancient sculpture is made from basalt and was originally painted in bright colors. You can still see some residue of red present on the mask and side of the face.
A sleek handmade sterling silver and zircon Mexican modernist bracelet by Juan Romero-Moreno of Taxco circa 1980s - fits up to 6.5" wrist and weighs a hefty 75.7 grams! Available... https://www.rubylane.com/item/1879775-7290/SLEEK-Vintage-1980s-Juan-Romero-Moreno #handmade #mexicanmodernist #mexicansilver #bracelet #juanromeromoreno #taxco #art
In Egyptian mythology, the falcon-headed god Horus lost his eye during a fierce battle with his rival, Set. The damaged eye was later magically healed and restored by the god Thoth. Because of this story, the wedjat eye came to symbolize Healing and Regeneration: It was commonly worn by the living to ensure good health and a quick recovery from illness. Protection: Used as a powerful amulet to ward off evil and bring blessings. The Afterlife: Wedjat amulets were frequently placed between the mummy wrappings of the dead to ensure safe passage to the next world and to promote rebirth.
An Astrological handmade sterling silver Zodiac Signs design charm bracelet by Far Fan of Mexico City circa 1940s. Available... https://www.rubylane.com/item/1879775-7289/ASTROLOGICAL-Vintage-1940s-Far-Fan-Mexico #zodiac #charm #bracelet #mexicansilver #farfan #cdmx #aries #aquarius #Capricorn #Leo #Libra #Pisces #Sagittarius #Scorpio #Taurus
From the Museo Amparo in Mexico... It is evident that, beginning in the early Classic period (ca. 350 AD) on the Gulf of Mexico coast, ceramics associated with the Teotihuacan cultural sphere began to appear locally. Accompanying this was a willingness among the elites to adopt this style—which was spreading across much of Mesoamerica—as represented by vessels and figurines featuring forms previously unseen in the region. These changes originating in central Mexico likely influenced the ritual practices of the ruling classes, as they fostered local imitation and ultimately led to the incorporation of these novel products into their own ceremonial activities.
René Lalique Pendulette 8 jours « Cinq Hirondelles » glass clock Also called pendulette « Vol d’Hirondelles » White molded-pressed glass with black enamel design of 5 swallows in flight Working condition Molded signature Lalique lower right and R.Lalique France etched under the base Model introduced in 1920 Illustrated in Félix Marcilhac, René Lalique Catalogue Raisonné de l’Œuvre de Verre, Édi-tions de l’Amateur, number 761 page 376
For the Moche people of northern Peru (c. 100–800 AD), lizards and iguanas symbolized fertility, abundance, and the connection between the coast and dry inland forests. Because they easily adapted to arid environments, these reptiles were revered as resilient survivors and frequently depicted in elite Moche jewelry. The lizard or iguana was a highly regarded motif among Moche nobility. This famous, brilliantly crafted gold and turquoise ear ornament—housed in the Museo Larco in Lima—features eight iguanas arranged in a radial pattern. Such items denoted elite political and religious power. Lizards were seen as crucial mediators bridging the coastal shores and the dry inland forests, which were both vital to the Moche ecosystem. Along with felines, owls, and snakes, reptiles like lizards were frequently sculpted or painted on Moche stirrup-spout bottles. These depictions typically emphasized the animal's natural agility and association with the earth's natural rhythms.
Historically, Navajo textiles were strictly utilitarian items—such as wearing blankets, dresses, and saddle blankets. It wasn't until the late 19th century, with the expansion of the railroad and export markets, that weavers adapted their designs to create heavier, decorative rugs specifically for non-Native tourists and trading posts. Early Navajo weavings functioned as cloaks, rectangular panel dresses, shirts, breechcloths, and highly prized shoulder blankets (often called "Chief's Blankets") used for warmth and trade. As Western goods (like manufactured blankets) became widely available, Navajo weavers shifted from making lightweight wearing blankets to tightly woven, heavier textiles. These items were used as rugs and floor coverings for non-Native homes. Today, highly prized, intricately woven Navajo rugs are rarely placed on the floor due to their value and craftsmanship. Instead, they function primarily as decorative wall hangings and valuable works of art.
Warrior figure terracotta, pigment c. 120-250 CE Nayarit culture Western Mexico 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.
"From Kwakiutl People of Vancouver Island, British Columbia: Mask Representing Half of a Human Face. c. 1880. The right side is shown. It has a square edge on the line of the nose. Painted in designs of red, black, and green. This mask represents a rival chief at a distribution of property, who is caricatured as having one half of his face burnt off by the powerful fire of the chief-making feast." D.F. Tozier Collection of the Seattle Land and Improvement Company.* The Smithsonian instead attributes this mask to the Heitsuk People of the Central Coast region in British Columbia, who are centred on the island community of Bella Bella. The Heitsuk and the Kwakiutl peoples are very closely related. For both, the purpose of this mask is the same.