- 10
VASE EN TRAVERTINVALLÉE DE L'ULÚA, CULTURE MAYACLASSIQUE RÉCENT/ POSTCLASSIQUE ANCIEN, 800-1000 AP. J.-C. |
Estimate
40,000 - 60,000 EUR
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Description
- haut. 25 cm ; 9 7/8 in
Provenance
Collection privée, Paris, acquis avant 1955
Transmis par descendance
Blanchet & Associés, Paris, 21 septembre 2004, n° 55
Importante Collection privée française
Transmis par descendance
Blanchet & Associés, Paris, 21 septembre 2004, n° 55
Importante Collection privée française
Condition
Very good condition overall. Numerous naturals veins of the stone as visible in catalogue illustration and show as darker lines. The surface have been extremely cleaned. Wear consistent with age and use within the culture.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Les superbes vases en pierre blanche de la vallée de l’Ulúa (Honduras) sont réputés pour leur élégant décor en bas-reliefs et leurs anses zoomorphes extrêmement détaillées. Taillés dans du marbre, leur surface révèle à la fois la teinte blanc crème et l’exceptionnelle transluminescence de la pierre. Témoins de la longue tradition mésoaméricaine de l’art du lapidaire, les vases de l’Ulúa attestent du talent remarquable des sculpteurs de l’ère classique. Ce corpus a été étudié dès la fin du XIXe siècle par l’archéologue Byron Gordon, lors d’une expédition organisée par le Peabody Museum of Archeology & Ethnology (Harvard University). Il identifia le site comme le lieu d’origine de ces vases en marbre richement décorés ; de grande valeur, ils étaient échangés au sein d’une vaste zone géographique allant du Costa Rica jusqu’à la région septentrionale de la plaine centrale maya. Les recherches ultérieures, en particulier les travaux de Christina Luke, se sont appuyées sur les premières découvertes de Gordon et ont permis d’élaborer une typologie de ces œuvres, classées en cinq catégories fondées sur la variété stylistique des poignées. En dépit de ces variations, l'iconographie générale des vases de l’Ulúa demeure homogène dans la représentation des têtes zoomorphes, vues de face ou de profil et ornées de volutes ou d'écailles. Si le corpus est aujourd’hui célébré pour l’épure du marbre blanc translucide, ces vases étaient souvent stuqués et peints.
Les recherches de Luke et Tykot ("Celebrating Place Through Luxury Craft Production, Travesia and Ulua style marble vases", Ancient Mesoamerica, Vol. 18, n ° 2, automne 2007) se sont concentrées sur la région de Travesia, depuis longtemps considérée comme un important foyer de production compte tenu de la concentration de vases qui y furent découverts. Ils décrivent le rôle important de l'artisanat spécialisé dans le rayonnement des différentes communautés ; en particulier la manière dont le style de l’Ulúa fut développé et sublimé par des générations d’artisans qui établirent Travesia comme un centre sacré (idem, p. 316). Travesia étant située dans une zone majeure de production de cacao, l'accès et le contrôle de cette denrée de grande valeur ont également contribué à la notoriété de la communauté.
Ce vase, de forme cylindrique, présente des anses décorées de têtes zoomorphes surmontées d’une double bande de volutes.
Pour un exemplaire comparable, voir le vase acquis pour l’University Museum de Philadelphie sous la direction de George Byron Gordon (n° d'acquisition n° NA5526). Pour un autre exemplaire, voir Keleman, Medieval American Art, 1943, pl. 95a.
The lustrous white stone vessels from the Ulúa Valley region of Honduras are well known for their alluring fluid low relief carvings and highly modelled zoomorphic handles. Carved from marble, they were made to feature both the creamy texture and warm translucency of the stone’s surface. As part of a long tradition of Mesoamerican lapidary art, vessels such as the Ulúa examples show the remarkable ability of the ancient craftsman to model in stone.
Ulúa style vessels were first documented in the late 19th century by archaeologist Byron Gordon during an expedition for the le Peabody Museum of Archeology & Ethnology at Harvard University. He established the site as the origin of the elaborately carved marble vessels, which were traded as valued luxury goods across a broad geographic range from Costa Rica in the South to the Central Maya lowland in the North. Later scholarship, particularly the work of Christina Luke, built upon Gordon’s initial findings and created a taxonomy of the vessels, dividing them into five categories based upon a variety of handle styles. Despite these categorizations, the iconography of Ulúa vessels is highly consistent in the overall design motifs of frontal and profile zoomorphic heads flanked by scrolls, scales, and scalloped forms. While the corpus is now distinguished by the classical simplicity of translucent marble, they may once have been covered with painted stucco.
Research on Ulúa vessels by Luke and Tykot has focused on the Travesia region, long regarded as an important site given the concentrated production of these vessels. They describe the integrative potential of specialized craftsmanship between communities; in particular, how the Ulúa style was developed and refined by generations of artisans, creating a trademark to celebrate Travesia as a sacred center (Luke and Tykot, "Celebrating Place Through Luxury Craft Production, Travesia and Ulua style marble vases", Ancient Mesoamerica, Vol. 18, no. 2, Fall 2007, p. 316). As Travesia was located in a prime cacao growing area of the Ulúa valley, access and control of this highly valued item contributed to the prominence of the community.
The present example is cylindrical in form with handles in the form of zoomorphic heads surmounted by double bands of scrollwork.
For a related example, purchased for the University Museum in Philadelphia while George Byron Gordon was the director, see accession no. NA5526. For another similar example see Kelemen, Medieval American Art, 1943, pl. 95a.
Les recherches de Luke et Tykot ("Celebrating Place Through Luxury Craft Production, Travesia and Ulua style marble vases", Ancient Mesoamerica, Vol. 18, n ° 2, automne 2007) se sont concentrées sur la région de Travesia, depuis longtemps considérée comme un important foyer de production compte tenu de la concentration de vases qui y furent découverts. Ils décrivent le rôle important de l'artisanat spécialisé dans le rayonnement des différentes communautés ; en particulier la manière dont le style de l’Ulúa fut développé et sublimé par des générations d’artisans qui établirent Travesia comme un centre sacré (idem, p. 316). Travesia étant située dans une zone majeure de production de cacao, l'accès et le contrôle de cette denrée de grande valeur ont également contribué à la notoriété de la communauté.
Ce vase, de forme cylindrique, présente des anses décorées de têtes zoomorphes surmontées d’une double bande de volutes.
Pour un exemplaire comparable, voir le vase acquis pour l’University Museum de Philadelphie sous la direction de George Byron Gordon (n° d'acquisition n° NA5526). Pour un autre exemplaire, voir Keleman, Medieval American Art, 1943, pl. 95a.
The lustrous white stone vessels from the Ulúa Valley region of Honduras are well known for their alluring fluid low relief carvings and highly modelled zoomorphic handles. Carved from marble, they were made to feature both the creamy texture and warm translucency of the stone’s surface. As part of a long tradition of Mesoamerican lapidary art, vessels such as the Ulúa examples show the remarkable ability of the ancient craftsman to model in stone.
Ulúa style vessels were first documented in the late 19th century by archaeologist Byron Gordon during an expedition for the le Peabody Museum of Archeology & Ethnology at Harvard University. He established the site as the origin of the elaborately carved marble vessels, which were traded as valued luxury goods across a broad geographic range from Costa Rica in the South to the Central Maya lowland in the North. Later scholarship, particularly the work of Christina Luke, built upon Gordon’s initial findings and created a taxonomy of the vessels, dividing them into five categories based upon a variety of handle styles. Despite these categorizations, the iconography of Ulúa vessels is highly consistent in the overall design motifs of frontal and profile zoomorphic heads flanked by scrolls, scales, and scalloped forms. While the corpus is now distinguished by the classical simplicity of translucent marble, they may once have been covered with painted stucco.
Research on Ulúa vessels by Luke and Tykot has focused on the Travesia region, long regarded as an important site given the concentrated production of these vessels. They describe the integrative potential of specialized craftsmanship between communities; in particular, how the Ulúa style was developed and refined by generations of artisans, creating a trademark to celebrate Travesia as a sacred center (Luke and Tykot, "Celebrating Place Through Luxury Craft Production, Travesia and Ulua style marble vases", Ancient Mesoamerica, Vol. 18, no. 2, Fall 2007, p. 316). As Travesia was located in a prime cacao growing area of the Ulúa valley, access and control of this highly valued item contributed to the prominence of the community.
The present example is cylindrical in form with handles in the form of zoomorphic heads surmounted by double bands of scrollwork.
For a related example, purchased for the University Museum in Philadelphia while George Byron Gordon was the director, see accession no. NA5526. For another similar example see Kelemen, Medieval American Art, 1943, pl. 95a.