Female Deer-Human Effigy Vessel

Possible OriginNicaragua, Central America, North America

Possible OriginCosta Rica, Central America, North America

CultureGreater Nicoya

PeriodPeriod IV

Date500 BCE-300 CE

MediumCeramic

Credit LineEx coll. William C. and Carol W. Thibadeau

Dimensions12 5/8 x 10 1/4 x 7 1/16 in. (32 x 26 x 18 cm)

Object number1991.004.344

Exhibition HistorySeeing with New Eyes: Pre-Columbian Art from the Thibadeau Collection, Emory University Museum of Art and Archaeology, March 4 - October 13, 1992
MCCM Permanent Collection Galleries, May 11, 1993 - February 1994
MCCM Permanent Collection Galleries, November 1994 - 2001
MCCM Permanent Collection Reinstallation, September 13, 2002 - June 2012
'For I am the Black Jaguar': Shamanic Visionary Experience in Ancient American Art, Michael C. Carlos Museum, Emory University, September 5, 2012 - January 5, 2013
MCCM Permanent Collection Reinstallation, February 9, 2013 - Present
Published ReferencesMichael C. Carlos Museum Handbook (Atlanta: Michael C. Carlos Museum, 1996), 76.
Rebecca Stone-Miller, Seeing With New Eyes: Highlights of the Michael C. Carlos Museum Collection of Art of the Ancient Americas (Atlanta: Michael C. Carlos Museum, 2002), 70-74, figure 131.
Rebecca Stone-Miller, "Human-Animal Imagery, Shamanic Visions, and Ancient American Aesthetics," RES 45 (2004): 51, figure 4.
Margaret Young Sanchez, Costa Rican Masterpieces (Denver: Denver Art Museum, 2010).
Michael C. Carlos Museum: Highlights of the Collections (Atlanta: Michael C. Carlos Museum, 2011), 68.
Rebecca Stone, The Jaguar Within: Shamanic Trance in Ancient Central and South American Art (Austin: University of Texas Press, 2011), 95 - 97, figures 5.1 - 5.5.
Laura Wingfield, "Barely There but Still Transcendent: Ancient Nicaraguan and Costa Rican Dress, Regalia, and Adornment, ca. 800 BCE - 300 CE in Greater Nicoya," in Wearing Culture: Dress and Regalia in Early Mesoamerica and Central America, edited by Heather Orr and Matthew G. Looper, 29-59 (Niwot: University Press of Colorado, 2014), 35, figure 2.10.
Laura M. Wingfield, "Greenstone Axe to Gold Eagle Pendant: The Sex Change of Costa Rica's Symbol of National Pride," in Dressing the Part: Power, Dress, Gender, and Representation in the Pre-Columbian Americas, ed. Sarahh E.M. Scher and Billie J.A. Follensbee (Gainesville: University Press of Florida, 2017), 338, figure 9.7b.
Colin McEwan and John W. Hoopes, Pre-Columbian Art from Central America and Colombia at Dumbarton Oaks (Washington, D.C.: Dumbarton Oaks Research Library and Collection, 2021), 140, figure 37.
Maria Masucci and John W. Hoopes, "Evaluating Pre-Columbian Contact between Ecuador and Costa Rica: A Ceramic Approach," in Waves of Influence: Pacific Maritime Networks Connecting Mexico, Central America, and Northwestern South America, ed. Christopher Beekman and Colin McEwan (Washington, DC: Dumbarton Oaks, 2022), 313, figure 9.9b.

ProvenanceEx coll. William (1920-2002) and Carol (1921-2019) Thibadeau, Atlanta, Georgia, acquired late 1969 or purchased February 1971.

Status

On view

Collections