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TÊTE EN BOIS KERODÉBUT DE LA PÉRIODE COLONIALE, CA. 1470-1560 AP. J.-C. |
Estimate
15,000 - 25,000 EUR
bidding is closed
Description
- haut. 21,5 cm ; 8 1/2 in
Provenance
Collection du Dr. Charles Maillant (1898-1993), Neuilly-sur-Seine, acquis ca. 1940
Transmis par descendance
Christie's, Paris, 10 décembre 2003, n° 426
Importante Collection privée française
Transmis par descendance
Christie's, Paris, 10 décembre 2003, n° 426
Importante Collection privée française
Condition
Good condition overall, some thin open cracks running all over the head. Old reparation on the proper left side of the vase. Wear consistent with age and use within the culture. Good preservation of the paintings.
"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 coupes cérémonielles céphalomorphes constituaient un élément majeur des traditions péruviennes : composantes essentielles des cérémonies folkloriques, monnaies d'échanges ou présents offerts aux royaumes et dignitaires rivaux, leur usage remonte a minima au Ve siècle. Appelées aquillas lorsqu'elles sont en or ou en argent et kero (ou quero) lorsqu'elles sont en bois, elles étaient invariablement fabriquées par paires à partir de la même pièce de métal ou de bois. La dimension binaire de l'opposition et de la complémentarité, nécessaire à toute entité complète, était profondément ancrée dans les principes esthétiques et visuels andins. Le visage de ce kero est paré d’ornements traditionnels, petits et sombres, rehaussés de stries colorées semblables aux peintures faciales des guerriers. Le cou et l'arrière sont décorés de motifs floraux et d’un cortège de guerriers élégamment vêtus, réalisés selon une technique complexe et ancestrale d’incrustation d'un bois résineux polychrome appelé mopa-mopa. Il est vraisemblable que les artistes andins, tout en imitant le style de certains objets peints de facture européenne, aient conservé cette technique indigène pour la confection de leurs importants objets traditionnels (Phipps, Hecht et Martin, The Colonial Andes, 2004, p.182-283).
The ritual drinking vessel was a preminent feature of Peruvian customs, an essential component of ritual festivals, exchange and gifts for rival kingdoms and dignitaries, used since at least the 5th c. if not even earlier. Known as aquillas when in gold or silver, and kero (or quero) when in wood, were always made in pairs from either the same piece of metal or wood. The binary element of opposition and complementarity to make a complete entity, was deeply embedded in Andean visual and sociopolitcal principals.
This face of this head kero has classic small and somber features decorated with colored stripes which reference the face paint of warriors. The neck and reverse are decorated with floral fronds and a procession of elaborately dressed warriors, using an intricate technique of incising and inlaying with a resinous polychrome, called mopa-mopa. It is suggested that Andean artists emulated the look of painted European wares, but used this indigenous technique on their important traditional objects . (Phipps, Hecht and Martin, The Colonial Andes, 2004, pp.182-183).
The ritual drinking vessel was a preminent feature of Peruvian customs, an essential component of ritual festivals, exchange and gifts for rival kingdoms and dignitaries, used since at least the 5th c. if not even earlier. Known as aquillas when in gold or silver, and kero (or quero) when in wood, were always made in pairs from either the same piece of metal or wood. The binary element of opposition and complementarity to make a complete entity, was deeply embedded in Andean visual and sociopolitcal principals.
This face of this head kero has classic small and somber features decorated with colored stripes which reference the face paint of warriors. The neck and reverse are decorated with floral fronds and a procession of elaborately dressed warriors, using an intricate technique of incising and inlaying with a resinous polychrome, called mopa-mopa. It is suggested that Andean artists emulated the look of painted European wares, but used this indigenous technique on their important traditional objects . (Phipps, Hecht and Martin, The Colonial Andes, 2004, pp.182-183).