Inyai-Ewa Male Ancestor Figure (Aripa), Korewari River Region, Papua New Guinea

Presumably collected in situ by George Kennedy
Maureen Zarember, New York
Allan Stone, New York

Good condition for an object of this type and age. Repaired crack to front of chin with a repaired with an old nail, presumably in situ, and covered with wood paste. Plugs along the back covering holes from a previous mounting. Nicks, scratches, abrasions, and small chips. Loss to front of foot. Underside of the foot with a cavity. Aged blackened patina with remains of white and red pigment.
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.

Inyai-Ewa carvings from the rainforest of the Upper Korewori River region in northern Papua New Guinea took the Western art world by surprise following their discovery in remote caves along the banks of the Korewori River in the 1960s. Kept protected from moisture in rock shelters, these carvings were spared from rot and are of considerable antiquity.  Large-scale male and female figures, although distinctly different in design, are both known as aripa and form the most significant body of Inyai-Ewa art.

Regarding the male figures Kjellgren (2007: 57) notes:  “In the past each man owned an aripa, which was kept, together with those of other hunters, in the men’s ceremonial house (koa).  Representing potent spirits whose souls (tite) resided within the images, the aripa served as ‘hunting helpers’ [...]"

And he continues (ibid.): “At death […] the image, accompanied by the bones and personal effects of the deceased, was taken to a rock shelter where it was placed alongside the aripa of other departed hunters and other sacred carvings.  Serving as temporary campsites and places of remembrance, these rock-shelters were open to the entire community and the once-secret aripa images were visible to all.”