A smiling woman offers the day's catch for sale from a basket at her feet. Working in ceramic in the classic style of Chulucanas, Gerasimo Sosa uses techniques that derive from the ancient Vicus culture. He gives his figurine the rotund shape of clay jars, and models her beautiful expressive face in delicate detail.
The artisan shapes the figures by hand, fires them, then applies slip glazes for color. When they dry, he burnishes the piece with a stone. He then covers the colored areas with slip and fires the piece a second time in a reduction kiln using mango leaves. The smoke results in the black areas while the protected areas preserve their original color.
Made in Peru
Ceramic
Signed by the artist
Hand-crafted item -- color, size and/or motif may vary slightly
"I participated in obtaining the Protected Designation of Origin for Chulucanas… In 2000, I was recognized as an Amauta (teacher or master) of Peruvian Handicrafts.
"In 1953, I was born in the beautiful and sunny town of Chulucanas in Peru. I consider myself a simple man, happy,... hardworking and responsible. With my father, I learned that the hands of a ceramist are able to bring clay to life.
"At first, I crafted utilitarian pieces that were dominated by modernity. I revived the burnished pottery technique practiced by my ancestors and renovated the themes.
"I work in silence, without haste. At midday in the dusty streets of Chulucanas, the intense heat makes everyone drowsy but, in my workshop, you feel the excitement of our remembered traditions. I revived the paddle and anvil technique I'd learned from my father, Andres Sosa Ruiz. He was born in Simbila, a town that originated with the Tallan culture, and crafted pitchers, cooking pots, jars and kettles for washing dishes or doing laundry.
"Times have changed for village ceramicists because plastic jars and aluminum cookware is more and more available. Thus, it's increasingly difficult for us to make a living, In the 1960s, many artisans abandoned their craft and so did their children. The utilitarian ceramics that we've used since pre-Inca days were almost forgotten.
"This concerned me. I decided to do what I could to maintain the tradition. I started with pieces shaped like pots and vessels, adding human features and giving them a better finish by burnishing the clay and using natural colors. This is how my sculptures known as las gorditas, or "little fat ones" came to be. Today, they've become so popular that almost no one realizes the idea was mine.
"In 1974, Chulucanas ceramics began a new stage of development. At that time, the master potter Max Inga's health was delicate. He met Gloria Joyce, a nun from the U.S. who worked in the medical clinic here. In gratitude, he gave her some ceramic doves, which fascinated her. From then on, she never stopped visiting the workshops of popular artists in the area to motivate them to continue their work.
"I also met Gloria Joyce and she gave me a book on the native ceramicists on the U.S. One day, she brought me a fragment of pottery she'd found to analyze it. The decorative motifs were done with smoke and she remembered that her mother would bring new ceramic pots to a wood-fired stove. She'd playfully throw pieces of clay on them so that the rest of the pot would take on a dark, smoky color. When the clay dried and fell off, it left random, lighter-colored motifs.
"I took a jar and rapidly drew geometric motifs on the surface. I covered them with clay and smoked the pot in a fire. Then I took off the clay applications and created my first negative motif jar in the more than 2000 years since the Vicus culture disappeared.
"Eventually, my work was exhibited in Finland, Holland, Luxemburg, Chile, Panama y Ecuador, where I also gave demonstrations of the ancestral techniques I use today.
"I'm grateful to God that I've been able show my designs in Peru and abroad. I participated in obtaining the Protected Designation of Origin for Chulucanas. This is the only one in Peru. I also helped work toward the title of Flag Product for our ceramics as well. I collaborated on the Artisan and Artisan Productivity Law. In 2000, I was recognized as an Amauta (teacher or master) of Peruvian Handicrafts.
"Since we revalued and revived the ancestral Vicus techniques, we have strengthened the identity of our community and in northern Peru, and crossed borders with our art."
Only valid on the Normal shipping option for shipments to 48 Lower US states.
Discounted shipping price may not be applied to previous orders.
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WOMEN
S
M
L
XL
XXL
4
6
8
10
12
14
16
18
20
22
BUST
35 - 36
37 - 38
39 - 41
42 - 44
46 - 48
WAIST
27 - 28
29 - 30
31 - 33
34 - 36
38 - 40
HIPS
37 - 38
39 - 40
42 - 43
45 - 46
49 - 50
MEN
S
M
L
XL
XXL
CHEST
36 - 38
39 - 41
42 - 44
46 - 48
50 - 52
WAIST
30 - 32
32 - 34
35 - 37
38 - 41
43 - 45
NECK
14 - 14.5
15 - 15.5
16 - 16.5
17 - 17.5
18 - 18.5
SLEEVE
32.5
33.5
34.5
35.5
36.5
FINDING YOUR SIZE
Take your measurements with the tape measure over your under garments. If your measurements fall between sizes you may prefer the next larger size. Inseam, skirt and dress lengths vary by style and will be listed in the item description. Our sweaters are knit in standard American sizes, however actual measurements vary by style.
BUST / CHEST
Measure around the fullest part of chest under the arms and over the shoulder blades keeping the tape measure level.
WAIST
Measure around the smallest part of the waist keeping the tape measure comfortably loose. Most garments use the low waist measurement noted below.
LOW WAIST
Measure around the body approximately 1.5" below the natural waist (above). This is the area where most pants and skirts actually fit.
HIPS
Standing with your heels together, measure around the fullest part of the body approx 7"-8" below the waist.
NECK
Measure around the base of the neck keeping the tape measure comfortably loose.
SLEEVE
Bend elbow slightly and starting at the center back of the neck, measure across the shoulder, to the elbow and down to the wrist.
INSEAM
Our standard inseam length for women is 32" and 34" for men; however inseam measurements will vary slightly by style.
Belts with buckles are measured in inches that correspond to a waist size however, most people do not wear belts on the waist, they wear them closer to the hips. A buckle belt measurement is take from the end of the "pin" of the buckle to the middle hole on the belt. Generally there are 5 holes for size adjustment, with a 1" space between each, so the middle hole will the be average size of the belt.
For at tie belt (no buckle) measure the belt portion end to end and half of the tie portion. This again is the medium size of the belt.
For a soft fabric tie belt it can be called "1 size fits most" and the entire length of the belt should be measured and listed.
See buckle/tie belt size standards below.
WOMEN
S
M
L
XL
4
6
8
10
12
14
16
18
20
22
inches
26 - 30
28 - 32
31 - 35
34 - 38
38 - 42
cm
76 - 86
81.5 - 91.5
86.5 - 96.5
91.5 - 101.5
96.5 - 106.5
+/- tolerance: 0.5 inches or 1.25 cm
MEN
S
M
L
XL
XXL
inches
30 - 34
32 - 36
35 - 39
39 - 43
43 - 47
cm
81.5 - 91.5
86.5 - 96.5
91.5 - 101.5
96.5 - 106.5
109 - 119
+/- tolerance: 0.5 inches or 1.25 cm
Sash tie length
Lay sash/tie out flat away from the garment and measure from end to end.
Belt with buckle
Measure from the end of the pin of the buckle (where it touches the buckle) to the middle hole.
Belt without buckle
Measure from the belt portion end to end and half of the tie portion. This is will give you the medium size of the belt.
Download our printable ring sizing chart to find the perfect fit!
We refer to these items as "discounted wholesale". Such items carry a deeper wholesale discount than other items, and have greater potential to provide your business with healthier resale margins.
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