FOREHEAD MASK |

Reverse inscribed in black ink '22 [-] 3911' and with André Emmerich Gallery label inscribed 'NW 10'

Julius Carlebach, New York
The Museum of the American Indian-Heye Foundation, New York (cat. no. 22-3911), acquired from the above by exchange in August, 1954
Andre Emmerich Gallery, New York (inv. no. NW 10), acquired from the above in November, 1957
Howard and Saretta Barnet, New York, acquired from the above on December 21, 1957

Very good condition overall. A few minor short age cracks. Old losses to the top edge of the rim of the mask. Marks nicks scratches abrasions and wear consistent with age and use. Fine aged patina with original pigments of black, green-blue, and dark red.
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.

Not all the creatures represented in masks can easily be identified, and this is one of the challenging examples. Made to be worn on the forehead, the origin of this sculpture is evident in the eyes and their relationship to the eyesockets and mouth, as well as in the form of the nostril and the two slim U-shapes extending up between the eyebrows. The most uncommon features are the two curled ‘horns’ or antennae that arch backward above the nose area. Coupled with the shape of the head and its foreshortened snout, these suggest that the mask most likely represents the woodworm, a crest emblem of the Gaanax’teidi and Gaanax’adi clans. The story of the lonely girl who befriended a woodworm, which later grew large and began to consume all the food resources of the house, originated on the west coast of Prince of Wales Island, Southeast Alaska. At some time the story and the crest traveled with members of that clan who migrated to the Chilkat River valley above Haines, Alaska. There they joined with the Gaanax’teidi of Klukwan village in establishing the Whale House, known as Yaay Hit’, in about the year 1800. Within that famous clan house, one of the four celebrated houseposts created for that structure includes a figure of the girl, wearing a headdress made up of two large woodworms and with another one emerging from her chest. That housepost and the other three are currently displayed for the public in the Klukwan Cultural Heritage Center and Museum. A slim, fourteen-foot long feast bowl in the form of a giant woodworm with little human feet was carved for the dedication of that house, and remains in the present incarnation of the building today.

In addition to models of the housepost that have been carved in the last two centuries, other kinds of objects that display the woodworm crest include shaman’s masks from the Gaanax’teidi, small wooden or ivory amulets, and examples of both woven and beaded ceremonial regalia.

Steven C. Brown, April 2018