This earspool frontal is one of a pair; the mate is in the Museo de Oro del Peru. Originally, the frontals were attached to large cylindrical rods. Twenty-four turquoise beads are inset into round depressions crafted in the raised outer rim of the spool. A larger bead occupies the center. Four near identical individuals are laid out in a frontal-profile composite design in the inner recessed part of the spool. Each figure is simply dressed in a tunic that is decorated with a zigzag motif at the hem. All four hold a large object in each hand, while three to four more like objects are illustrated on the ground line between each figure. A comparison with similarly represented objects elsewhere in Lambayeque art reveals that they are intended to be Sponsylus shells. The individuals, therefore, appear to be functionaries in the collection-distribution system of that value commodity. Because of their attire, they cannot be divers but it can be assumed that they are a kind of intermediaries in the Spondylus trade hierarchy.

Benson, Elizabeth P. 1963 Handbook of the Robert Woods Bliss Collection of Pre-Columbian Art. Dumbarton Oaks, Trustees for Harvard University, Washington, D.C., p. 70, cat. 395.

Boone, Elizabeth Hill (ED.) 1996 Andean Art at Dumbarton Oaks. Pre-Columbian Art at Dumbarton Oaks; No. 1. Dumbarton Oaks Research Library and Collection, Washington, D.C., p. 217-218, pl. 53.

Quilter, Jeffrey 2005 Treasures of the Andes: The Glories of Inca and Pre-Columbian South America. Duncan Baird, London.

"Indigenous Art of the Americas", National Gallery of Art, Washington DC, September 1960 to April 1962.

Formerly in the collection of Mirko E. Sors (collector), Montevideo, Uruguay before 1959.

Purchased from Greta Sors by Robert Woods Bliss, June 4, 1959.

Robert Woods Bliss Collection of Pre-Columbian Art, Washington, DC, 1959-1962.

Dumbarton Oaks Research Library and Collection, Pre-Columbian Collection, Washington, DC.