- 15
A Tlingit Polychromed Wood Mask
Description
Exhibited
Literature
Art of the Northwest Coast Indians, Robert Bruce Inverarity, University of California Press, Berkeley, 1950, pl. 72
Condition
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
For a discussion of the use of masks within the Tlingit culture see Steve Brown, Spirits of the Water: Native Art Collected on Expeditions to Alaska and British Columbia, 1774-1910, Seattle, 2000, pp. 50-51: "Masks were seen as repositories of supernatural power. This is the case of masks used by Tlingit shamans (shamanic art is prominent in the northern province, especially among the Tlingit). Masks carved to represent animal, bird and human spirits that were controlled by a shaman, and whose power gave him the ability to cure illness, predict the future, or counteract the power of sorcerers are among the most dramatic examples of Northwest Coast art. Other shamanic objects - rattles, amulets, robes and headdresses, for example - are equally evocative and powerful. Haida and Tsimshian shamans used similar wonderful objects in their practice. Their images are enigmatic, typical of shamanic objects, with meanings known clearly only to the individual shamans who owned them. In this respect they are similar to the paraphernalia of southern shamans and characteristic of Northwest Coast religious material in general."
Animal motifs in Northwest Coast masks are examined in Allen Wardwell, Tangible Visions: Northwest Coast Shamanism and its Art, 1996, p. 93: "Animals form an equally large proportion of beings shown in Northwest Coast shamanic art. Some are hybrid creatures of identifiable animals, while others are fantastic monsters that have no counterpart in nature...Many of the animals in shamanic art, however, represent animal species that can be readily identified, and the reasons for their use are well known."
Ibid, p. 142, no. 147 for a closely related example in the collection of Eugene V. and Clare E. Thaw.