Pre-Columbian Vicús Double-Chambered Whistling Vessel – Ancient Peru, ca. 100–500 CE

Pre-Columbian Vicús Double-Chambered Whistling Vessel – Ancient Peru, ca. 100–500 CE

$3,500.00
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Pre-Columbian Vicús Double-Chambered Whistling Vessel – Ancient Peru, ca. 100–500 CE

Pre-Columbian Vicús Double-Chambered Whistling Vessel – Ancient Peru, ca. 100–500 CE

$3,500.00

Rare and highly collectible Pre-Columbian Vicús terracotta double-chambered whistling vessel (huaco silbador) from ancient Peru, dating to approximately 100–500 CE. This sophisticated ceremonial form features two cylindrical chambers connected by an elegant bridge handle, with one chamber surmounted by a molded anthropomorphic figural element. Executed in earthenware with red slip and brown glaze, the vessel demonstrates the technical innovation and sculptural refinement for which Vicús ceramics are celebrated.

Whistling vessels were among the most advanced acoustic ceramics produced in the ancient Americas. Designed to create sound through the movement of air or liquid between chambers, these ritual objects combined engineering, spirituality, and artistic expression. The figural component likely held ceremonial or symbolic significance tied to status, mythology, or ancestor veneration.

The vessel possesses excellent ancient surface character with visible age, mineral accretions, and rich remaining pigmentation throughout. An especially desirable example with old collection history reportedly tracing to Sotheby Parke Bernet during the 1970s–1980s.

Details

Culture: Vicús Culture, Ancient Peru
Date: ca. 100–500 CE
Medium: Terracotta pottery with red slip and brown glaze
Form: Double-chambered whistling pouring vessel (huaco silbador)

Dimensions

Height: 6.5 in  |  Width: 9 in  |  Depth: 3.75 in

Provenance

By repute Sotheby Parke Bernet, circa 1970s–1980s; thereafter Private Minnesota Collection.

Condition

Ancient condition with wear commensurate with age and material. Some pigment loss throughout. Restoration visible to portions of the bridge handle. Small chips and edge wear, particularly around the ears. Areas of restoration and crazing visible beneath the figural chamber, along with possible stable cracks. Surface accretions throughout. Displays impressively overall.

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