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Carib Priests Instilling Courage: A Ritual Dance of the Caribbean, 1722
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About the Item
This hand-colored copperplate engraving titled “Manière dont les Prêtres Caribes soufflent le Courage” (The way Carib Priests blow courage) depicts a ceremonial ritual performed by the Carib people. It is from the 1727-1738 French edition of "Cérémonies et Coutumes Religieuses..." by A. Moubach, with engravings by Bernard Picart and others.
The scene takes place inside what appears to be a large, thatched-roof structure, possibly a ceremonial or communal hall. The open doorway in the background reveals a lush, tropical landscape with palm trees, typical of the Caribbean environment where the Carib people lived. Inside, the focus is on a group of Carib priests, who are performing a ceremonial act to instill courage into their followers.
The priests wear feathered headdresses and carry ceremonial items, possibly staffs or rattles. Their posture and actions suggest that they are conducting a ritual dance, blowing or chanting words of encouragement, likely a preparation for battle or an important communal event. The other figures, bare-chested and adorned with ornaments tied around their waists and legs, participate in the ritual, bending forward as they receive the spiritual energy or courage imparted by the priests. The rhythmic formation and repeated gestures indicate a deep cultural significance, possibly tied to warfare, spiritual power, or community bonding.
The engraving is notable for its detailed depiction of the Carib people’s cultural practices, which fascinated European audiences during the 18th century. Such depictions were often the result of colonial encounters, where European scholars and artists sought to document the religious and cultural rites of indigenous peoples. Bernard Picart’s talent for rendering exotic ceremonies with accuracy and sensitivity adds an additional layer of historical importance to this image.
What makes this engraving particularly interesting is the European fascination with indigenous rituals, seen through a lens of both curiosity and exoticism. The Carib people, often stereotyped as fierce warriors, were of great interest to Europeans who sought to understand their religious and social customs. Picart’s work provides a window into how these customs were interpreted and visualized by the European elite.
This scene represents a ritual performed by the Carib people, who originally inhabited regions of the Caribbean, particularly the Lesser Antilles, which includes islands like Dominica, Saint Vincent, Grenada, and parts of Trinidad. The Caribs were one of the indigenous peoples encountered by European explorers and colonizers, and their culture was primarily based in the islands of the Caribbean Sea. Therefore, the ritual depicted in this engraving likely takes place in what is now considered part of the modern countries of Saint Vincent and the Grenadines, Dominica, Grenada, or Trinidad and Tobago.
The lush, tropical landscape seen through the doorway in the engraving suggests the location is within one of these Caribbean islands.
Key words for discovery:
Carib people, Caribbean rituals, indigenous ceremonies, Carib priests, Bernard Picart, 18th-century engravings, religious customs, exotic rituals, colonial encounters, hand-colored prints, Cérémonies et Coutumes Religieuses.
- Dimensions:Height: 15.75 in (40 cm)Width: 10.24 in (26 cm)Depth: 0.01 in (0.2 mm)
- Materials and Techniques:Paper,Engraved
- Period:1720-1729
- Date of Manufacture:1722
- Condition:Condition: Good. General age related toning and occasional light staining from handling as visible on image. Paper edges occasionally frayed and chipped from handling, not nearly effecting image. Strong paper.
- Seller Location:Langweer, NL
- Reference Number:Seller: BG-13806-731stDibs: LU3054341488382
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View AllRitual Dance: Expressions of Cultural Heritage in an African Ceremony, 1827
Located in Langweer, NL
The print is from "Il Costume Antico e Moderno" by Giulio Ferrario, specifically depicting the "Le Lullunge" feast in Senegambia. This festival is illustrated as part of the extensive series detailing the customs, costumes, and daily life of people from different parts of the world. The illustration captures a lively and culturally significant dance that forms part of the "Le Lullunge" celebrations, showcasing traditional attire and communal participation, which are central to the event in Senegambian culture. The illustration not only serves as a vibrant representation of the dance and celebration but also as an ethnographic record from the early 19th century, emphasizing the richness of Senegambian traditions.
The term "Senegambia" historically referred to a region in West Africa that encompassed parts of what are today known as Senegal and The Gambia. This area is known for its rich cultural heritage, including vibrant festivals and communal celebrations like the one depicted in the illustration. The "Le Lullunge" feast, as illustrated in Giulio Ferrario's "Il Costume Antico e Moderno," captures the traditional dances and social practices of the peoples in this West African region.
This original antique hand-colored print depicts a vibrant scene of Native African dance, possibly part of a ceremonial or ritualistic activity. The individuals are animatedly engaged in dance, with their limbs dynamically positioned, suggesting vigorous movement. Each figure is adorned with elaborate feathered headdresses and carries feathers or other items as part of their dance. These accessories likely have cultural significance, possibly denoting status, role in the ceremony, or spiritual symbolism.
The attire of the dancers is simple yet functional for their vigorous activity, consisting of skirts that allow for ease of movement. Their outfits are decorated with additional elements that may indicate tribal affiliation or personal achievement. The dancers are barefoot, connecting them physically and symbolically to the earth, which is a common aspect in many African cultural practices emphasizing a connection to nature.
The setting of the dance is outdoors, under a large tree, indicating the importance of natural surroundings for the event. This could be a communal gathering place, chosen for its significance within their community or for its natural beauty and tranquility.
Overall, this image captures a moment of cultural expression, highlighting the importance of dance in Native African traditions as a form of communication, celebration, or spiritual practice. The detail and color used in the depiction aim to convey the vibrancy and energy of the scene, reflecting the artist’s perspective on these cultural practices.
In more detail:
From: ‘Il Costume Antico e Moderno …, l’America.’ , by Giulio Ferrario, published in Milan in 21 volumes by Antonio Fortunato Stella in 1827 (first edition, second issue). The 17 volumes of the first issue were published sequentially between c. 1815/1816 until 1826 after first being issued in 143 weekly installments. The work appeared in Italian and French. Smaller size editions with smaller much less elaborate plates were published in Florence (1823-38), Naples (1831-42) and even a 16mo. editon in Livorno (1830). Original blindstamp at bottom right image. The sources used for this work are wide.
Made by ‘Gallo Gallina’ after ‘Giulio Ferrario’. Giulio Ferrario was founder of the ‘Societa Tipografica de Classici Italiani’ and served as the director of the Braidense National Library in Milan, Italy. Artists that worked on this monumental work are: Gallo Gallina, D.K. Bonatti, A. Biasioli, L. Rossi, Paolo Fumagalli, Gaetano Zancon (1771-1816), G. Bigatti, C. Bramati, G. Gallo, C. Bottiglia, G. Castellini, Antonio Rancati (1784-1816), Vittorio Raineri, Sydney Parkinson...
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Antique 1820s Prints
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Celebration of Tahitian Culture: Traditional Dance at Otaheite, circa 1785
Located in Langweer, NL
An antique engraving depicting a dance scene titled "An Exact Representation of a Dance in Otaheite," Otaheite being an archaic name for Tahiti in French Polynesia. This engraving would have been created as a part of a series to document the culture and life of the Tahitian people, likely observed by European explorers during one of the many voyages to the South Pacific in the 18th century.
In the foreground, there are central figures engaged in a dance, wearing traditional Polynesian attire, which includes wraps around their waists and adornments that seem to represent status or a part of the dance costume. They are holding what appear to be fans, which may be part of the traditional dance. The dancers' poses suggest movement and a performance aspect to the scene.
Behind the dancers, we can see a group of musicians providing the accompaniment, playing drums, which indicates the importance of music and rhythm in the dance. To the right, there is an audience of seated individuals, likely members of the community, watching the performance.
The background of the scene includes thatched huts and a lush landscape with palm trees, depicting a typical village setting in Tahiti. The checkerboard pattern on the ground where the dance takes place is notable, as it adds a sense of structure to the scene.
This image would have been intended for a European audience unfamiliar with Tahitian culture and would have served as a visual record of the encounters between European explorers and the peoples of the Pacific Islands.
The engraving you've uploaded, titled "An Exact Representation of a Dance in Otaheite," is likely from a work documenting the voyages of Captain James Cook, given the style and subject matter. Captain Cook made three voyages to the Pacific Ocean during the 18th century, and his encounters with the peoples of the Pacific, including those of Tahiti (Otaheite), were extensively recorded and published.
The engravings from Cook's voyages were made by artists who accompanied him, such as John Webber on his third voyage, or were based on sketches made by other crew members. These images were then published in the official accounts of the voyages. The most notable of these accounts is "A Voyage to the Pacific Ocean" undertaken during Cook's third voyage from 1776 to 1780, which was published in the years following his death in 1779.
Another possible source for this engraving could be from the accounts of Joseph Banks. Banks was a naturalist who joined Cook on his first voyage (1768-1771) aboard the HMS Endeavour and was responsible for extensive collections and descriptions of Pacific cultures. His collections and later works also included illustrations and engravings of the scenes and peoples encountered.
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Title: "Ritual Dance in Brazil"
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Religious Ceremony of the Inhabitants of the Island of Hispaniola, 1734
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Engraving of Traditional Chilean Circle Dance: A Festive Gathering in 1827 Chile
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Antique print titled "Danze de' Chiliesi" (Dance of the Chileans), from the historical work "Il Costume Antico e Moderno" by Giulio Ferrario. The print, created in 1821, showcases a traditional Chilean dance, vividly captured in line and aquatint etching with original hand coloring on wove (vellin) paper.
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Cultural and Historical Significance
This print is significant as it provides a visual documentation of Chilean cultural practices from the early 19th century, emphasizing the traditional dances that were an integral part of community gatherings and celebrations. The artwork, by C. Bramati and Paolo Fumagalli after designs by Giulio Ferrario, is part of a larger series that aimed to capture the costumes and customs of people around the world, offering insights into the diversity of cultural expressions during a time of burgeoning global awareness.
The detailed depiction not only highlights the dance but also serves as an ethnographic record, preserving aspects of Chilean culture that might have evolved or faded over time. This work, along with others in the series, was widely distributed and appreciated for its educational and artistic value, making significant contributions to the understanding of global cultural heritage in the 19th century.
‘Tavole XXVIII. Danze de’ Chiliesi.’
Line & aquatint etching with original hand colouring on wove (vellin) paper.
Sheet size: 33 x 23,5 cm. (13 x 9,3 inch). Image size: 21 x 15,5 cm. (8,3 x 6,1 inch).
In more detail:
From: ‘Il Costume Antico e Moderno …, l’America.’ , by Giulio Ferrario, published in Milan in 17 volumes (first issue), published sequentially between c. 1815/1816 until 1826 after first being issued in 143 weekly installments. This Italian volume has the date 1821. The second issue was published in 21 volumes in 1827. The work appeared in Italian and French. Smaller size editions with smaller much less elaborate plates were published in Florence (1823-38), Naples (1831-42) and even a 16mo. editon in Livorno (1830). Original blindstamp at bottom right image. The sources used for this work are wide including van Humboldt, von Wied etc.
Made by ‘C. Bramati and Paola Fumagalli’ after ‘Giulio Ferrario’. Giulio Ferrario was founder of the ‘Societa Tipografica de Classici Italiani’ and served as the director of the Braidense National Library in Milan, Italy. Artists that worked on this monumental work are: Gallo Gallina, D.K. Bonatti, A. Biasioli, L. Rossi, Paolo Fumagalli, Gaetano Zancon (1771-1816), G. Bigatti, C. Bramati, G. Gallo, C. Bottiglia, G. Castellini, Antonio Rancati (1784-1816), Vittorio Raineri, Sydney Parkinson...
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