Curled-Up Coati Vessel600–900 CE

On view:

Geffen Galleries

Title: Curled-Up Coati Vessel
Culture: Greater Coclé
Place Made: Panama, Veraguas Province, Bubi, Conte style
Date Made: 600–900 CE
Style: Conte
Medium: Engobe-painted earthenware
Dimensions: 6 1/2 x 9 x 7 in. (16.51 x 22.86 x 17.78 cm)
Credit Line: Gift of Drs. Alan Grinnell and Feelie Lee
Accession Number: M.2011.193.6
Classification: Ceramics
Collecting Area: Art of the Ancient Americas
Curatorial Notes: The body of this jar is modeled in the shape of a coati, curled up on its side. The coati (also called coatimundi), a relative of the raccoon, is widespread in Central and South America. When represented by Greater Coclé artists, coatis are always shown with one or both front paws touching the mouth, as here, perhaps in reference to the animal’s very dexterous hands. Two spouts emerge from its side, one wide, one narrow, connected by a short bridge handle. As is the case in many artistic traditions of the ancient Americas, ceramic sculptures are rarely just effigies of animals or humans but instead double as vessels or, indeed, are vessels modified to take figurative forms. What this vessel once contained is not known, but the elaborate, impractical form and decoration indicate it would only ever have been utilized for a few ceremonial or ritual purposes, perhaps in a grave offering.

2025

On view:

Geffen Galleries

Title: Curled-Up Coati Vessel
Culture: Greater Coclé
Place Made: Panama, Veraguas Province, Bubi, Conte style
Date Made: 600–900 CE
Style: Conte
Medium: Engobe-painted earthenware
Dimensions: 6 1/2 x 9 x 7 in. (16.51 x 22.86 x 17.78 cm)
Credit Line: Gift of Drs. Alan Grinnell and Feelie Lee
Accession Number: M.2011.193.6
Classification: Ceramics
Collecting Area: Art of the Ancient Americas
Curatorial Notes: The body of this jar is modeled in the shape of a coati, curled up on its side. The coati (also called coatimundi), a relative of the raccoon, is widespread in Central and South America. When represented by Greater Coclé artists, coatis are always shown with one or both front paws touching the mouth, as here, perhaps in reference to the animal’s very dexterous hands. Two spouts emerge from its side, one wide, one narrow, connected by a short bridge handle. As is the case in many artistic traditions of the ancient Americas, ceramic sculptures are rarely just effigies of animals or humans but instead double as vessels or, indeed, are vessels modified to take figurative forms. What this vessel once contained is not known, but the elaborate, impractical form and decoration indicate it would only ever have been utilized for a few ceremonial or ritual purposes, perhaps in a grave offering.

2025