• `Animals in Pre-Columbian Art — André Emmerich Gallery, New York — exhibition catalogue front cover. Black and white photograph of a Pre-Columbian ceramic effigy vessel: a squat, four-legged jar with a zoomorphic face — wide-set eyes, open mouth with teeth, and stubby limbs — on a grey ground. Yellow Strand Bookstore price sticker upper right ($15.00). Title in black sans-serif at foot: "ANIMALS IN PRE-COLUMBIAN ART".`
  • `Animals in Pre-Columbian Art — André Emmerich Gallery — interior plate. Two catalogue entries. Top: Cat. no. 6, Owl, Mochica, North Coast of Peru, ca. 300 B.C.–A.D. 100. Cream and light brown pottery stirrup-spout vessel in the form of a seated owl with incised feather detail, 7" high. Bottom: Cat. no. 7, Female seal with cub, and mate, Mochica I, North Coast of Peru, ca. 500–200 B.C. Two dark grey pottery stirrup-spout vessels modelled as seals, 6½" and 7" high.`
  • `Animals in Pre-Columbian Art — André Emmerich Gallery — interior plate. Cat. no. 8, Owl, Mochica I, North Coast of Peru, ca. 500–200 B.C. Dark grey pottery stirrup-spout vessel modelled as a seated owl: large circular eyes, flat beak, incised feather detail on wings and body, taloned feet, handle and spout rising from the back. 7" high.`
  • `Animals in Pre-Columbian Art — André Emmerich Inc., New York — back cover. Cream wraps with circular colophon at centre: "æ" ligature monogram surrounded by text reading "ANDRE EMMERICH INC. · 4 LE 57 NEW YORK 22". Age toning and handling wear to surface.`
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André Emmerich Inc.

Animals in Pre-Columbian Art — André Emmerich Inc., New York, 1965

Animals in Pre-Columbian Art — André Emmerich Inc., New York, 1965

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André Emmerich Inc., New York, 1965
Exhibition catalogue
Softcover
21 × 29.7 cm

Animals in Pre-Columbian Art: A Comprehensive Exhibition of animals — wild, domestic and divine — in stone, pottery, textile, jade and gold from 1000 B.C. to A.D. 1500.

Published on the occasion of an exhibition held at André Emmerich Inc., New York, 1965. Illustrated throughout with 48 works.

A catalogue structured as a survey, but read as a sequence of forms translated across material. Animal figures appear as vessels, effigies, containers — objects where function and image are held together. A spouted owl, a seal with its young, hybrid bodies carrying volume and gesture simultaneously.

The photographic language is consistent: isolated objects, neutral ground, frontal or slight rotation. Each piece stabilised for viewing, removed from site, ritual, or use. The exhibition reorganises dispersed artefacts into a single visual field — stone, clay, textile, and metal aligned under a shared taxonomy of “animal.”

Captions provide minimal anchoring: culture, region, approximate date. Mochica, North Coast Peru. 300 B.C.–A.D. 100. The works remain partially unassigned, circulating between ethnographic record and sculptural presence.

The cover centres a single figure — an anthropomorphic vessel — held in studio light. A later retail label (“Strand Price $1.50”) remains affixed, introducing a second layer of circulation: exhibition to bookshop to archive. Verso stamped: André Emmerich Inc., 41 East 57th Street, New York.

Condition: Good. Surface wear, handling marks, edge softening, and light toning throughout. Retail sticker to front cover retained.

An exhibition document that compresses multiple temporalities into a single printed sequence. Object, image, and category held in provisional alignment.

Original period item.

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