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Hardcover volume, 35 x 27 cm, bound in grey cloth, blind stamped characters to front, brown characters to spine, in a slipcase, the outer case missing, pp.: [4] [1] 2-116 (plates with photographs of 202 items), [2] 119-154 [4]. Ninsei [仁清] and Kenzan [乾山] ceramics produced by Ninsei Nonomura [野々村仁清] (Japanese, c. 1640 – c. 1690) and Ogata Kenzan [尾形 乾山] (Japanese, 1663 – 1743), respectively. 日本の陶磁 – Japanese ceramics, series title. Contributors: Yasunari Kawabata [川端 康成] (Japanese, 1924 – 1972) – author. Tetsuzo Tanikawa [谷川 徹三] (Japanese, 1895 – 1989) – author. Seizo Hayashiya [林屋晴三] (Japanese, 1928 – 2017) – editor. Chūōkōron-sha [中央公論社] – publisher. -
Six in-folio leaves, 2o, incl. title-page, engraved portrait of P. Fendi after Josef Danhauser, 4 pages of printed text, and 10 of 40 colour photomechanical reproductions of Fendi’s watercolour plates (205 x 140 mm), mounted on vellum paper with blind stamp (398 x 305 mm) in a parchment-backed flapped album (defective), gilt-stamped, with straps. Limited edition of 600 copies. The publisher is not stated but is sometimes attributed to C. W. Stern in Vienna. Limitation statement and imprint missing. Title-page (brown and black): PETER FENDI | VIERZIG EROTISCHE AQUARELLE | IN FAKSIMILEREPRODUKTION. MIT EINEM PORTRÄT | PETER FENDIS VON JOSEF DANHAUSER | UND EINER EINFÜHRUNG | VON KARL MERKER || Catalogue Raisonné: Nordmann II № 198, p.96. Contributors: Peter Fendi (Austrian, 1796 – 1842) Josef Danhauser (Austian, 1805 – 1845) Karl Merker – author/introduction. -
Softcover volume, 33 x 26 cm, collated in folio, not bound, in publisher’s French flapped pictorial wrappers, lettering to spine; printed on thick wove Arches paper watermarked “MBM”, upper edge trimmed, owner’s blind stamp to h.t. “Ex Libris Comte Tony de Vibraye”, glassine dust jacket, in a slipcase. Collation: π2 1-262, total 54 leaves, plus 4 leaves in wrappers, plus 10 plates, incl. frontispiece; coloured aquatints after Sylvain Sauvage; coloured etched vignette to front wrapper, gilt woodcut to back wrapper, woodcut title-page and woodcut headpiece after the same. Pp.: [4] [1] 2-102 [2]. Front wrapper (gilt and black): LA NUIT & LE MOMENT | {vignette} | OU | LES MATINÉES DE CYTHÈRE | PAR | MONSIEUR DE CRÉBILLON LE FILS | — || Title-page (woodcut): CRÉBILLON LE FILS | — | LA NUIT ET LE MOMENT | OU | LES MATINÉES | DE CYTHÈRE | {vignette} | A PARIS | AUX DEPENS D'UN AMATEUR | — | M CM XXIV || Limitation: De cette édition il a été tiré un exemplaire unique sur japon impérial comportant dix aquarelles originales, deux cents trente exemplaires sur vélin d' Arches numérotés 1 à 230, dont les dix premiers avec une suite de hors texte sur japon. N° 1 [Print run limited to 230 copies on Arches plus a unique copy on Japon with original watercolours, this is copy № 1 on wove paper]. Seller’s description: La Nuit et le moment ou Les Matinées de Cythère. Paris, Au dépens d'un amateur, 1924. In-4, en feuilles, non rogné, couverture illustrée et étui. Ouvrage illustré de 4 gravures sur bois et de 10 eaux-fortes libres en couleurs hors texte de Sylvain Sauvage. Tirage à 231 exemplaires, celui-ci le n°1 sur vélin d'Arches. Manque la suite de hors texte sur japon. De la bibliothèque du Comte Tony de Vibraye, avec cachet à froid. Dutel, n°2062. Catalogue raisonné: honesterotica.com; Dutel III 2062. Contributors: Claude-Prosper Jolyot de Crébillon [Crébillon fils] (French, 1707 – 1777) – author. Sylvain Sauvage [Félix Roy] (French, 1888 – 1948) – artist. Provenance: Antoine Henri Gaston Hurault de Vibraye [Comte Tony de Vibraye] (French, 1893 – 1951) -
Hand-coloured woodcut on wove paper, 460 x 363 mm; black ink stamp “5054” to reverse. Four tiers with groups of people dressed in uniform, captioned: Bedeau — Suisse — Chanoines — Évêque — Porte croix — Évêque — Cardinal — Cardinal | Généraux français — Le prince Napoléon — L’Empereur et l’Impératrice — Marraine — Le Prince — Parrain | Meur l’Archevêque | Porte crosse Diacre servant | Préfet — Sénateur — Conseiller de cour — Président — Dames de la cour — Gral Piémontais — Chef arabe | Aide-de-camp de l’Empereur — Chambellan de l’Empereur — Ministre d’état — Ambassadeur de Turque | Ambassadeur d’Angleterre — Ambassadeur d’Autriche — Ambassadeur de Russie — Ambassadeur de Prusse — Gral anglaise — Lord anglais || Bottom left: Imprimerie Lith. de Pellerin, à Épinal; right: Propriété de l’Éditeur. — Déposé. Jean Charles Pellerin (French, 1756 – 1836) – printer/publisher. -
Watercolour on wove paper, 243 x 161 mm, black ink stamp to verso: “Nachlaß O R SCHATS”. Attributed to Otto Rudolf Schatz (Austrian, 1900 – 1961). -
Sasano: Japanese Sword Guard Masterpieces from the Sasano Collection. By Sasano Masayuki. Part One. Published in Japan in 1994 by Daisuke Saito, Mega Co., Ltd. Translated by Tomoko Saro. Printed by Mitsumura Printing Co., Ltd. 304 x 217 x 30 mm
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Artist: Utagawa Kunisada [歌川 国貞] a.k.a. Utagawa Toyokuni III [三代歌川豊国] (Japanese, 1786 – 1865). Signed: Toyokuni ga [豊国 画] in a red toshidama cartouche. Actor: Sawamura Gennosuke II [沢村源之助] (Japanese, 1802/7 – 1853); other names: Suketakaya Takasuke III, Sawamura Chōjūrō V [沢村長十郎], Sawamura Tosshō I, Sawamura Genpei I. Character: Kameya Chubei [亀屋忠兵衛] Play: Koi Bikyaku Yamato Orai [恋飛脚大和往来] Performance: Kawarasaki Theatre [河原崎座] in the 2nd month of 1851. Double nanushi censor seals: Fuku & Muramatsu, from 3rd month of Kaei 2 to 11th month of Kaei 4 (1849-51). Another fan print from the pair SVJP-0212-1.2016: Ichikawa Ebizō V as Tanbaya Onizo / Fan print, 1851.
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Manners and Customs of the Japanese, in the Nineteenth Century. From the Accounts of Recent Dutch Residents in Japan, and from the German Work of Dr. Ph. Fr. von Siebold.
Author: Siebold, Philipp Franz von et al.
Publisher: Harper & Brothers, New York, 1841.
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Iron tsuba of round form with design of hatchet executed in openwork (sukashi) and three fan panels motif on both sides carved in low relief (sukidashi-bori). Designs on the fan panels - face: bellflower, plum blossom in mist, grass leaves; - back: clouds, grass, and half plum blossom in mist. Copper sekigane. Koga-hitsu-ana probably cut out on a later date. Kamakura or kamakura-bori school. Edo period. Height: 83.8 mm, Width: 82.2 mm, Thickness at seppa-dai: 3.2 mm. NBTHK certificate № 4005500: Hozon (worthy of preservation). -
Iron tsuba of round form pierced with design of paulownia (kiri) in a circle in positive silhouette (ji-sukashi), details carved in low relief (sukidashi-bori). Hitsu-ana were cut later and then both plugged with lead or pewter. Brown patina. The most unusual characteristic of this tsuba is its 'positiveness': the absolute majority of Kamakura-bori tsuba are of ko-sukashi type, i.e. with small openings, presenting the motif in negative silhouette. Kamakura-bori school. Muromachi period (ca. 1450). Size: Height: 85.1 mm, width: 84.8 mm, thickness at seppa-dai: 3.2 mm, at rim: 2.8 mm. Weight: 79.1 g. A similar tsuba is presented at Japanese Swords and Sword Fittings from the Collection of Dr. Walter Ames Compton. Part I. Christie's, New York, March 31, 1992, page 11, №3: "A Kamakura-bori tsuba. Muromachi period, ca. 1450. The round iron plate is pierced with an openwork design of a paulownia crest (kiri-mon), the surface details of which are carved in low relief. The design is repeated on the reverse. The edge is slightly raised and the rim has some iron bones. 78 mm x 77 mm x 3.5 mm. Hakogaki by Sato Kanzan, dated summer 1973."
Compton's Collection, Part I, p. 11, №3.
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This print was sold to me with the following description: "Ikkansai EISHO (Fl. early 19th c.). A portrait of the wrestler Kuroyanagi Matsujiro, ring name Kumagatake Inosuke. Eisho was a pupil of Eishi. Published c. 1820s by Uoya Eikichi. Signed Shunsai Eisho ga." As a result of our joint effort with my beloved sister, we have so far found the following: The artis is mentioned in The Hotei Encyclopedia of Japanese Woodblock Prints, 2005, Vol 2; p. 438 under the name of Harukawa Eichō. From this source we learned that the artist was active from about 1818 till 1844, and was a print designer in Kyoto. He was a student first of Harukawa Goshichi and later studied in Edo (Tokyo) with Keisai Eisen, when he assumed the art name 'Eichō'. Other names: Shunsai. The Japanese web page dedicated to Harukawa Eichō provides more details: The artist lived from the 4th year of Tenmei ( 1784 ) to the first year of Kaei ( 1848 ). He was a student of Harukawa Goshichi, Kikukawa Eizan as well as of Keisai Eisen. His popular name was Kamenosuke. He was from Kyoto. He took "gagō" (artistic names) of Eishō when he was a student of Harukawa Goshichi; later, when he became a student of Kikukawa Eizan and Keisai Eisen he took the name of Kikukawa Eichō. The artist was mostly known for his bijinga (beautiful women) prints as well as kanazōshi illustrations. Nothing is said anywhere about his sumo prints, though the reference to another Kyushu sumo wrestler portrait has been found. The sumo wrestler Kuroyanagi Matsujiro is also a somewhat obscure figure: information about his life and career is quite inconsistent. It may so happened that two different persons were combined together. Wikipedia page about Aoi Aso Jinja, a Shinto shrine in Hitoyoshi in Kumamoto prefecture, tells us the following:This information has some inconsistencies already. If our hero was born in 1807 and promoted to ōzeki at the age of 32, it should have been the year 1839, not 1847. I found Kumagatake Isuke at "Sumo Reference" website:Kuroki Matsujiro (黒木松次郎) was born in the village of Itsuki in Kuma district, Kumamoto prefecture, island of Kyushu in Bunka era, 4th year (1807). Since from his childhood he was blessed by great physique and tough strength. He had affection for sumo. At the age of 18 he became a sumo student of Kumamoto Shimakawa Ikuhei and took the name of Toyama Hidekichi (遠山日出吉). At the age of 23 (1830), he entered sumo stables in Kyoto, mastered the art of taming of young horses, and his talents improved. At the age of 31 he went to Edo, and became a disciple of the ōzeki Oitekaze Kitaro of Hirado domain in Hizen province, also from Kyushu island. After that, he changed his name and became Kuroyanagi Matsujiro (黒柳松次郎 – as on the print). In 1847 (Bunka era, 4th year) he distinguished himself by advancing to the first grade, and at the age of 32 he was promoted to ozeki level, becoming sekitori. After changing his name to Kuma-ga-take Inosuke (熊ヶ嶽猪之介 / くまがたけいのすけ) he displayed further efforts, and became one of the strongmen that fermented sumo wrestling in Edo. In 1853 (Kaei era, 6th year) he retired and returned to his village, becoming an employee as a strongman of Sagara domain (相良藩), and worked hard as instructor of the sumo training hall to train successors until 1855 (Ansei era, 2nd year) when he passed away at the age of 48. Even today Kuma-ga-take's home exists in Itsukimura (his native village). Also, on those grounds a descendant of Kuma-ga-take runs minshuku (guest house) that bears the name of "The Kuroki Pension (lodging) ", and tourists come to visit from various parts of Japan. In 2015, tenth month, within the borders of Aoi Aso Shrine there was built a gravestone publicly honoring Kuma-ga-take Inosuke, sumo wrestler from Edo / of Edo period.
The real name is the same, the ring name Kuroyanagi Matsujiro is the same, however, the date of birth here is 1815. He fought from 1836 till 1853 - which is quite similar to "At the age of 31 he went to Edo, and became a disciple of the ōzeki Oitekaze Kitaro". Though, in 1836 he might be 29 years old. His bouts are listed from spring 1841 to spring 1848 under the name of Kuroyanagi and from winter 1848 till spring 1853 he listed under the name of Kumagatake Isuke [Inosuke].Highest Rank Maegashira 4 Real Name Kuroki Birth Date 1815 Shusshin Kumamoto-ken, Kuma-gun Death Date March 6, 1855 (40 years) Heya Oitekaze Shikona Kuroyanagi Matsujiro - Kumagatake Isuke Hatsu Dohyo 1836.02 (Sandanme) Intai 1853.02 On another important sumo history website, I found that Kuroyanagi first appeared at ring in the spring of 1823 (he might have been 16 years old then, which does not seem right). Then, in the winter tournament of 1848 Kuroyanagi took the name Kumagatake. At the spring tournament of 1853 Kumagatake (Kuroyanagi) retired. This is quite consistent so far.
Then, I found Oitekaze Kitaro, allegedly the teacher of Kuroyanagi.
Everything look good with an exception of ring names (shikona): Kuroyanagi Matsujiro (1823-1828) - Kuroyanagi Sumiemon (1829-30) - Oitekaze Kitaro (1831-1839). May it be that Sato Matsutaro fought under the name of Kuroyanagi Matsujiro until Kuroki Matsujiro took this name from his master? I don't have another explanation of the enigma. What we know is that we have a portrait of a sumo wrestler called Kuroyanagi Matsujiro from Kyushu, but we don't know whether this was the one from Kumamoto (Kumagatake Inosuke, 1807/1815-1855) or the other from Kanagawa (Oitekaze Kitaro, 1799-1865). Subsequently, we may declare that the artist is Shunsai Eishō, a.k.a.Harukawa Eichō from Eishi school (The Hotei Encyclodepdia, p. 524), we can date the print from 1818 to 1844, and only tell that the wrestler is Kuroyanagi Matsujiro from Kyushu (either Kumagatake Inosuke or Oitekaze Kitaro). The publisher of the print is Moriya Jihei (Marks №353, p. 243-5). That's it.Highest Rank Ozeki Real Name SATO Matsujiro (Matsutaro#) Birth Date 1799 Shusshin Kanagawa-ken, Tsukui-gun Death Date May 4, 1865 (66 years) Heya Oitekaze Shikona Kuroyanagi Matsujiro - Kuroyanagi Sumiemon - Oitekaze Kitaro Hatsu Dohyo 1817.10 (Jonokuchi) Intai 1839.03 -
Iron tsuba of round form with two overlapping triangles (uroko) motif in openwork (sukashi). Triangle patterns usually associate with 'fish scale', mon of Hojo family (and others). Edo period or later.Size: 71.4 x 70.2 x 5.2 mm.
An association with the Star of David is doubtful if not impossible. -
Ebisu drawing wakamizu, the first water drawn from a well on the New Year. Kitao Shigemasa (北尾 重政, 1739 – 8 March 1820). Signed: Shigemasa. Publisher's mark: Nishimuraya Yohachi.References:
Jacob Pins #547 [p.217] - Ebisu drawing wakamizu, the first water drawn from a well on the New Year. TNM II (Tokyo National Museum Catalogue vol. 2) #1373.
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A two-volume set, published in Paris by P.-J. Hetzel in 1845 and 1846.
Vol. 1:
Title: LE | DIABLE A PARIS | — PARIS ET LES PARISIENS — | MŒURS ET COUTUMES, CARACTERES ET PORTRAITS DES HABITANTS DE PARIS, | TABLEAU COMPLET DE LEUR VIE PRIVEE, PUBLIQUE, POLITIQUE, | ARTISTIQUE, LITTERAIRE, INDUSTRIELLE, ETC., ETC. | TEXTE PAR MM. | GEORGE SAND — P.-J. STAHL — LEON GOZLAN — P. PASCAL — FREDERIC SOULIE — CHARLES NODIER | EUGENE BRIFFAULT — S. LAVALETTE — DE BALZAC — TAXILE DELORD — ALPHONSE KARR | MÉRY — A. JUNCETIS — GERARD DE NERVAL — ARSÈNE HOUSSAYE — ALBERT AUBERT — THÉOPHILE GAUTIER | OCTAVE FEUILLET — ALFRED DE MUSSET — FRÉDÉRIC BÉRAT | précédé d’une | HISTOIRE DE PARIS PAR THEOPHILE LAVALLÉE | ILLUSTRATIONS | LES GENS DE PARIS — SERIES DE GRAVURES AVEC LEGENDES | PAR GAVARNI | PARIS COMIQUE — VIGNETTES DE BERTALL | VUES, MONUMENTS, EDIFICES PARTICULIERS, LIEUX CÉLÈBRES ET PRINCIPAUX ASPECTS DE PARIS | PAR CHAMPIN, BERTRAND, D’AUBIGNY, FRANÇAIS. | [DEVICE] | PARIS | PUBLIÉ PAR J. HETZEL, | RUE RICHELIEU, 76 – RUE DE MÉNARS, 10. | 1845 ||
Pagination: ffl, [2 – h.t. / Paris: Typographie Lacrampe et Comp., Rue Damiette, 2 ; Papeir de la fabrique de sainte-marie] [2 – blank / frontis. ‘Diable’ with lantern standing on map of Paris] [2 – t.p. /blank] [I] II-XXXII, [1] 2-380, bfl. Sheet size: 27.5 x 17.5 cm.
Collation: 4to; A(4) – D(4), [1(4)] 2(4) – 47(4), 48(2); illustrations: frontispiece, vignette title-page, numerous text engravings and 99 plates.
Vol. 2: Title: LE | DIABLE A PARIS | — PARIS ET LES PARISIENS — | MŒURS ET COUTUMES, CARACTERES ET PORTRAITS DES HABITANTS DE PARIS, | TABLEAU COMPLET DE LEUR VIE PRIVEE, PUBLIQUE, POLITIQUE, | ARTISTIQUE, LITTERAIRE, INDUSTRIELLE, ETC., ETC. | TEXTE PAR MM. | DE BALZAC — EUGÈNE SUE — GEORGE SAND — P.-J. STAHL — ALPHONSE KARR | HENRY MONNIER — OCTAVE FEUILLET — DE STENDAHL — LEON GOZLAN — S. LAVALETTE — ARMAND MARRAST | LAURENT-JAN —ÉDOUARD OURLIAC — CHARLES DE BOIGNE — ALTAROCHE — EUG. GUINOT | JULES JANIN — EUGENE BRIFFAULT — AUGUSTE BARBIER — MERQUIS DE VARENNES — ALFRED DE MUSSET | CHARLES NODIER — FRÉDÉRIC BÉRAT — A. LEGOYT| précédé d’une | GÉOGRAPHIE DE PARIS PAR THEOPHILE LAVALLÉE | ILLUSTRATIONS | LES GENS DE PARIS — SERIES DE GRAVURES AVEC LEGENDES | PAR GAVARNI | PARIS COMIQUE — PANTHÉON DU DIABLE A PARIS PAR BERTALL | VUES, MONUMENTS, EDIFICES PARTICULIERS, LIEUX CÉLÈBRES ET PRINCIPAUX ASPECTS DE PARIS | PAR CHAMPIN, BERTRAND, D’AUBIGNY, FRANÇAIS. | [DEVICE] | PARIS | PUBLIÉ PAR J. HETZEL, | RUE RICHELIEU, 76 – RUE DE MÉNARS, 10. | 1846 || Pp. : ffl, [2 – h.t. / Paris: Typographie Lacrampe et Comp., Rue Damiette, 2 ; Papeir de la fabrique de sainte-marie] [2 – t.p. /blank] [I] II-LXXX, [1] 2-364, bfl. Sheet size: 27.5 x 17.5 cm. Collation: 4to; A(4) – I(4) – J(4), 1(4), 2(4) – 45(4), 46(2); illustrations: vignette title-page, numerous text engravings and 112 plates.Binding: [allegedly Roger de Coverly (British, 1831 — 1914)], 28.2 x 19 cm, ¾ brown calf ruled in gilt, brown marbled boards, nonpareil marbled endpapers, raised and ruled in gilt bands, floral devices and title lettering to spine. AEG. Foxing to flyleaves, tips of corners just a very little rubbed as are the glazed marbled paper boards; endpapers foxed; very occasional light scattered foxing of text.
Provenance: (1) Armorial bookplate (Ex Libris Sir John Whittaker Ellis, 1st Baronet (1829 – 1912), Lord Mayor of London 1881; (2) Bookplate Ex Libris Robert Frederick Green) dated 1909.
Reference: L. Carteret (1927) pp. 203-207: the first edition, lacking the publisher's white pictorial wrappers. -
Book size: 25.5 x 21 cm. Hardbound: original olive cloth, lettering and elements on FC and lettering on Sp.
Ex Libris Dr. H. Smidt, with the motto: "Sapienti sat" and a naked bold man at the seashore, holding a fruit behind his back.
Full title: Japanische Schwertzieraten. Beschreibung einer kunstgeschichtlich geordneten Sammlung, mit Charakteristiken der Künstler und Schulen von Gustav Jacoby. Hierzu siebenunddreissig Tafeln in Heliogravüre. [The second volume, which conteined 'heliogravures' is missing and had not be found elsewhere].
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Egypt, Late Period. The oval amulet with multiple pierced holes for stitching to the outer garments of a mummy or the mummy wrappings, reeded wings and braided claws, marine blue in colour. According to the Brooklyn Museum, such faience amulets formed part of the beadwork pattern and served to protect the mummy through their magical properties. It served as a substitute heart that would ensure continued existence in the hereafter. A similar example at the Brooklyn Museum dated ca. 712-342 BC. Dimensions: 55 x 37 mm Provenance: The Collection of Erwin Harvith (1918 – 2011) and Sylvia Redblatt Harvith (1920 – 2015), Detroit, MI, acquired in 1972 directly from the Collection of Moshe Dayan, (משה דיין; 1915 – 1981), an Israeli military leader and politician. Exhibited: Jewish Museum, New York, NY, "Culture and Continuity – The Jewish Journey", 1975. -
Title page: RECUEIL | DE CONTES | ET | DE POEMES, | PAR M. D**. | CI-DEVANT MOUSQUETAIRE. | TROSIÉME ÉDITION | AUGUMENTÉE | DE L'HERMITAGE DE BEAUVAIS. | [device] | A LA HAYE, | Et se trouve à Paris, | Chez Delalain, Libraire, rue de la Comédie | Française. | — | M. D. CC. LXX. IRZA | ET MARSIS , | POËME, includes: L'isle merveilleuse, Poëme, Chant 1re et Chant 2nd, Invocation a La Fontaine, and Alphonse, Conte – Cohen and De Ricci (#317) describe 2nd edition by the same publisher, 1769, 77 p., with similar illustrations after Charles Eisen: (1) engraved title by Louis Claude Legrand (2) L’Isle 1er: Frontispiece by Joseph de Longueil, (3) headpiece and (4) tailpiece by Emmanuel de Ghendt, and (5) L’Isle 2nd: Frontispiece by Jean Massard, (6) headpiece by Emmanuel de Ghendt + (7) tailpiece unsigned. Les Cerises et la Méprise, Contes en vers – Cohen and De Ricci (#311) also describe the 2nd edition of 1769, with the same (8) frontispiece by De Longueil after Eisen. Sélim et Sélima, Poeme imité de l'allemand; L'hermitage de beauvais, Conte –Cohen and De Ricci (#322) describe edition of 1769 by Sébastien Jorry, with the same (9) frontispiece by Emmanuel de Ghendt after Eisen. Size: 18.6 x 12.3 cm, small 8vo. Binding: polished, multi-coloured stained calf with gilt triple fillet border to boards; gilt floral arabesque and gilt lettering to flat spine: "Oeuvres de Dorat | Contes"; all edges gilt; blue-and-white marbled endpapers. Pagination: ffl, [2] IRZA ET MARSIS engraved half-title / blank, [1-2] - RECUEIL title page / blank, 3-8 (avis sur cette édition); [1 - L'Isle...] 2-184, bfl; Illustrations (copperplate engravings): 5 plates, 2 headpieces and 2 tailpieces. Collation: Octavo; a8 (title and avis sur cette édition); A-L8, M4. Author of the text: Claude Joseph Dorat, (French, 1734 – 1780) Artist: Charles-Dominique-JosephEisen (French, 1720 – 1778) Engravers: Emmanuel Jean Nepomucène de Ghendt (French, 1738 – 1815) Louis Claude Legrand (French, 1723 – 1807) Joseph de Longueil (French, 1730 – 1792) Jean Massard (French, 1740 – 1822) -
Pre-Columbian, Peru, Wari (Huari) culture, ca. 650 to 1000 CE.A hand-built polychrome ceramic stirrup vessel depicting the head of a jaguar. Painted with a sienna-hued base, this spotted beast features an abstract visage of almond-shaped eyes opened wide with long feather-like lashes, a rectangular nose protruding from a nasal bridge decorated with a quadrilateral motif, and a large open mouth, showing both upper and lower teeth, which are also spotted, all painted in shades of cream, black, cream, grey, light grey, and beige. Highly burnished, the lustrous vessel exhibits two spouts, also functioning as ears of the jaguar, with a flat handle arching between them. This tool would have been a grave good intended to hold some kind of libation or offering and was likely made in a specialist workshop.
Colours: Sienna (base), black, cream, grey, light grey, beige (7 colours).
Dimension: Width (mouth-to-mouth): 15 cm; Height: 14.5 cm; Diameter of the body: 10.5 cm. Provenance: Hans Juergen Westermann collection, Germany. The Wari State was the first expansionistic power to develop in the Andean highlands. It was located in Vilcabamba, modern Espiritu Pampa (Plain of the Spirits), Echarate District of La Convención Province in the Cuzco Region of Peru. The Wari expanded around AD 650 and by the time of their collapse in AD 1000 they controlled much of the central Andes.
