THE LINE OF BEAUTY
2,000 YEARS OF ART FROM THE BERING STRAIT
1
THE LINE OF BEAUTY
2,000 YEARS OF ART FROM THE BERING STRAIT 2
ART AND ANTIQUES FROM AFRICA, OCEANIA AND THE AMERICAS
3
ART AND ANTIQUES FROM AFRICA, OCEANIA AND THE AMERICAS
www.jacarandatribal.com dori@jacarandatribal.com T +1 646-251-8528 New York City, NY 10025
© 2021, Jacaranda LLC Published April, 2021 PRICES AVAILABLE ON REQUEST
4
CATALOG READER’S NOTES
Use of the word “Eskimo”
A note on dating
The word “Eskimo” is used in this catalog because it
Ascribing age to the various cultures that inhabited the
continues to be widely used in contemporary ethnological
Bering Sea over the past two millennia has shifted over
and linguistic literature focusing on Native Alaskan peoples
time and there is still not common consensus amongst
inhabiting the coast and adjacent interior. In Alaska, the
researchers. For the purposes of this catalog, we are using
term is not considered to be as strongly tabooed as among
the dating system used in The Menil Collection’s 2011 show
the Canadian Inuit. In fact, “Eskimo” is sometimes used by
and accompanying catalog, Upside Down: Arctic Realities,
certain Native Alaskans to describe themselves today. The
curated by Edmund Carpenter.
autonyms Yupiit (“real people”) and Inupiat (“real people”) replace “Eskimo” in many regions of Arctic Alaska today. We use the term Eskimo here as a matter of convenience to help group together various northern peoples who share similarities in environment, subsistence, culture and language.
Old Bering Sea I / Okvik style (c. 200 bc – ad 100) Old Bering Sea II (c. ad 100 – 300) Old Bering Sea III (c. ad 300 – 500) Punuk (c. ad 500 – 1200) Thule (c. ad 1000 – 1600)
A note on catalog images Objects may be smaller than they appear in the catalog image. Please refer to the object’s dimension (denoted in inches) for actual size.
c ata lo g r e a d e r ’ s n ot e s
5
6
c ata lo g r e a d e r ’ s n ot e s
THE LINE OF BEAUTY
2,000 YEARS OF ART FROM THE BERING STRAIT
We are pleased to present a selection of 30 artworks from in and around the Bering Strait. Spanning more than two millennia, these objects have all been selected for their timeless beauty and perfect synthesis of form and function.
The objects in this exhibition catalog range from the utilitarian, such as hunting instruments, to items more spiritual in nature. Because the fight for daily survival was so acute in the harsh Arctic environment, hunting and hunting implements such as harpoon heads and socket pieces were a prominent focus of the material culture. Scarcity of raw material, particularly wood, resulted in the production of artifacts both compact and precise and having a purity of form. The abundance of walrus ivory in the Bering Strait gave carvers ample material from which to craft fine yet sturdy and durable objects. An unanticipated benefit of the use of walrus ivory was that it could survive, buried in the permafrost, for thousands of years. Lying in the permafrost for millennia, these pieces slowly took on the colors of the soil that they were buried in, becoming black, brown, or even caramel-colored as they froze and thawed over the ages. An obvious observation to any viewer is the exceptional fineness with which these objects have been carved and it is difficult to grasp how such precision
was achieved without using modern tools. For the older objects, the astute observer will be sure to notice the fine line decorations and polyiconic imagery where images such as human faces or animals morph into yet more images and the true intent of the artist is hard, if not impossible, to discern. While these works may be enjoyed purely on their aesthetic merits, it helps to gain a deeper understanding of the Paleo-Eskimo cosmology to more fully appreciate the fineness and care underlying their manufacture as well as the prevalence of anthropomorphic and zoomorphic imagery, and the Inuit concept of inua. In Inuit mythology, an inua is a spirit or soul that exists in all people, animals, lakes, mountains, and plants. The concept is similar to mana. Mana is the spiritual life force or healing power that permeates the universe, in the culture of the Melanesians and Polynesians. For Arctic people, human and animals are equal. All life has the same kind of soul or “life essence”. This creates a predicament that, in order to survive, people must kill other creatures that are like them. Recognition of this dilemma lies at the center of hunting practice, which is based upon respect and reciprocity. The hunter will only succeed if the animal chooses to give its life as a gift in
introduc tion
7
8
introduc tion
return for moral and respectful behavior on the part of the whole community. For example, after a seal has been killed, fresh water is poured into its mouth so that its soul will not be thirsty, and it will tell the other seals of the respect shown to it. Thus, the objects in this catalog have been crafted to show the reverence and respect for the animals that will sustain the hunter and his family and continue the cycle of life and death. Of particular note in our catalog selection is a fine Okvik female head, with striking tattoo markings, classic and timeless as a Roman or Greek antiquity, with a monumentality that belies its scale. Another ancient Okvik object, a knife used for working animal hide, stuns the viewer with its striking line engravings and remarkable condition, seen for the first time after being in a private collection for over 40 years. We are also proud to offer one of only 50 extant examples of a wooden closed-crown hunting hat, worn solely by chiefs or exceptional hunters in and around the Kodiak Islands over 200 years ago. Another object from the historic period, a slate blade container with seal heads, is particularly rare and beautiful and captures the reverence that the hunters had for their prey. We also have selected a range of fine harpoon heads, striking in their dynamic form and lethal beauty. These affordable objects are a great entry point for a collector looking for museum-quality art from the Arctic. We hope you enjoy the collection as much as we have enjoyed curating the exhibition. Many of these objects are extremely tactile and are particularly enjoyable and truly appreciated when handled in person. The objects also benefit from close physical inspection and will reward viewers with new discoveries as they unravel and decipher the polyiconic imagery. Dori & Daniel Rootenberg new york city, april 2021
introduc tion
9
10
c ata lo g r e a d e r ’ s n ot e s
1
HUMAN HEAD OLD BERING SEA I/OKVIK STYLE Okvik site, Punuk Islands, Alaska ca. 200 bc – ad 100 Walrus ivory Height: 2 ¼ in PROVENANCE
Dr John Frederick Schaeffer, USA
Human images in ivory left by the archaic Old Bering Sea and Okvik cultures of Alaska stand among the most
of the busts carved by the ancient peoples of the Bering region. The plane of the neck angles downward and shows a
powerful expressions in the art traditions of the Arctic.
rough edge — evidence of the well-documented practice of
Their striking formal essentialism, austerity and deep
purposefully severing heads from bodies of figures of this
sense of mystery have fascinated generations of collectors.
scale. The purpose for which the figures were created is not
The beautiful head presented here has all the desirable
well understood, but there are references in the literature
attributes of its type, with classic stylized form and cocoa
that they might have been portraits of living individuals,
brown patina; a broad facial plane divided by a narrow,
perhaps revered members of the tribe, and that, upon the
attenuated nose; a long, slightly arched horizontal browline
death of the subject, the head and body were ritually severed
casting sharp shadows over suggestions of eyes; and a thin,
and buried distant from one another. By severing the head
diminutive mouth above a tapered chin. Slight convexities
from the body, the spirit or inua left the doll and thus, by
below the eye sockets give an elegant impression of
burying the head far from the body, the spirit would never
cheekbones, from which two strong incisions angle inward
re-enter the doll. It has also been suggested they might have
to the base of the nose, indicative of facial tattoos. Native
been made as tokens for life events, such as a pregnancy
Arctic women tattooed one another for millennia before
charm or an amulet for an important hunt, which were
Western colonizers abolished the custom.
severed when the purpose was fulfilled.
The eyebrows are carefully worked with vertical notches,
Like many excavated ivories, this head suffered partial
a texture echoed by the subtle lines found spread across the
loss from lying in the permafrost for millennia, notably
cheeks, which evoke wrinkles in a face of great age. With an
a split to the left side of the face and damage to the nose.
expression of both serenity and gravity, this image radiates an
With the assistance of an expert restorer, the head has been
aura of enigmatic wisdom and timeless vigor shared by many
restored to its original condition.
human head
11
12
human head
human head
13
14
human head
DR JOHN FREDERICK SCHAEFFER
Dr Schaeffer (1945–2020) was an orthopedic surgeon based in Sanford, Florida. He served on many international medical missions, including trips to Haiti and Russia. He was an avid collector and, for a number of years, had a second home in Santa Fe, NM where he was able to acquire many of his finest pieces.
Okvik head as excavated, pre-restoration.
human head
15
16
human head
2
MALE FIGURE THULE CULTURE Mainland, Western Alaska ca. ad 1000 – 1800 Walrus ivory Height: 4 ¼ in PROVENANCE
Philip M. Isaacson, Lewiston, Maine
Nature, time, and a sensitive artistic eye conspire to conjure
small figure, portraying a human image seemingly on the
a ghostly aspect in this beautiful, excavated male figure. All
verge of unknowable transformation.
the characteristics of this doll-like figure – the upturned face
Figures of this type are an ancient form with a lineage
with features worn to only small eye sockets; a faint mouth
stretching back before recorded history. According to
and a mere suggestion of a nose; semi-abstracted limbs with
Fitzhugh and Kaplan (Inua: Spirit World of the Bering Sea
arms fused to the torso; and the mottled surface of the ivory,
Eskimo, 1982 : 156), they were carved for several purposes: to
which lends an impression of fog or clouds – contribute to
stand in for people absent from the village during festivals,
its otherworldly aura. Curved incisions from the shoulders
to avert infertility, or else to focus the attention of animal
down to the center of the abdomen and sharp lines cut to
inua (spirits) during the Doll Festival, which was held
delineate a band at the waist may describe a parka or other
to bless hunting and fishing expeditions in the coming
garb. The hands clasped behind the back may represent an
year. Among the Yup’ik, shamans used dolls in adulthood
older man braced against the Arctic wind or even a dance
initiations and hung them in trees to foretell the location of
gesture. The enigmatic spirit of Arctic art is powerfully
game. Dolls were also carved by fathers and given to their
expressed in the depersonalized and stylized features of this
daughters as playthings.
male figure
17
18
male figure
Philip Isaacson, Lewiston, ME, c.2005
PHILIP M ISAACSON
Isaacson (1924–2013) was a graduate of Harvard Law School, served as an officer in the U.S. Navy during World War II, and received honorary doctorates from Bates College and Bowdoin College. He practiced as an attorney for over sixty years and was also an art and architecture critic for the Maine Sunday Telegram. He was a prolific photographer, primarily of architecture, and wrote three well-regarded books on art and architecture, including The American Eagle.
male figure
19
20
male figure
3
DRAG HANDLE ESKIMO WESTERN ALASKA 19th century Walrus ivory, walrus hide Length: 2 ¾ in, 16 in loop PROVENANCE
Justin Cobb, Massachusetts
This well-preserved drag features a cleverly carved zoomorphic handle threaded with a loop of hide knotted in the center. The thumb-sized handle depicts a polar bear with legs carved in relief, tucked along its belly. Eyes, ears, nose and mouth are developed and picked out with blackened details, presenting a predatory aspect. Age and use have left darkened pits, scratches and a mottled patina on the white ivory, adding a pelt-like texture to the figure’s surface. Drags were tools used by hunters to pull walruses, sea lions and seals across the ice after a successful hunt. Serving as a magical aid for both protection and hunting success, these talismanic carvings assisted the hunter in his arduous task.
drag handle
21
22
drag handle
Justin Cobb, c. 2018
J U S T I N LY M A N C O B B, I I I
Justin Lyman Cobb, III (1927–2019) owned Captain’s Quarters Antiques, specializing in maritime art and folk art, a venture that combined his love of the sea with his fascination with history. A tireless traveler to antiques shows throughout New England, he was a familiar face at auction houses across the region where he acquired numerous Eskimo artifacts.
drag handle
23
24
drag handle
4
DRAG HANDLE ESKIMO WESTERN ALASKA Late 18th / early 19th century Walrus ivory, walrus hide thong Length: 2 ½ in, 9 ½ in loop PROVENANCE
Bill Henderson Collection, Tacoma, Washington Jeffrey Myers, New York
This exceptionally rare drag features an ivory toggle carved
is in the Phoebe Apperson Hearst Museum collection and
in the form of a seal, flippers cut in light relief and simple
is published in their Catalogue Raisonné of the Alaska
facial features indicated with small, blackened indentations.
Commercial Company Collection (see plate 220, accession
This charming figure was probably repurposed from a
number 2-4267).
harpoon blade container. Adorning the body of the seal are
Drags were tools used by Arctic hunters to pull walruses,
a number of engraved stylized images depicting polar bears,
sea lions and seals across the ice after a successful hunt.
human figures, whales, and other animals, which are cut
Serving as a magical aid for both protection and hunting
into the surface with dark hatch marks.
success, these talismanic carvings assisted the hunter in his
Another example of a toggle with incised line drawings
arduous task.
drag handle
25
26
drag handle
drag handle
27
28
drag handle
drag handle
29
30
drag handle
5
SINEW SPINNER ESKIMO ST LAWRENCE ISLAND, ALASKA 19th century Walrus ivory Length: 8 in PROVENANCE
Rick Gallagher, New York City
Sinew spinners have been dated as far back as the Old Bering Sea I period and were initially thought to be part of a friction drill. In his seminal work The Eskimo about Bering Strait, anthropologist Edward William Nelson describes seeing a similar spinner on St. Lawrence Island, describing its use as follows: “The sinew to be spun is attached to the flattened rod at the shoulder, just below the hole, and by a rapid circular motion of the hand the flattened rod is caused to revolve rapidly, giving the desired twisting to the cord.” The example offered here presents a form quite reminiscent of a twentieth-century Modernist sculpture, consisting of three almost geometric forms interlocked in an asymmetrical arrangement. A deep patina and mottling of age texture its ivory surfaces, lending an organic touch to the abstract, utilitarian minimalism of the piece.
sinew spinner
31
32
sinew spinner
6
HARPOON SOCKET PIECE FRAGMENT OLD BERING SEA III ST LAWRENCE ISLAND, ALASKA ad
100–400
Walrus ivory Height: 5 ½ in PROVENANCE
Kenneth Pushkin, Santa Fe, collected on St. Lawrence Island in 1978 Faith-Dorian and Martin Wright Collection, New York
The harpoon has been essential to the lifeways of the
abut one another in an abstract press. Beguiling in visual
peoples living on either side of the Bering Sea for millennia.
intent, they evoke a mass of eyes, faces or animal forms that
It has undergone significant evolution in design during
separate, merge, and alter their relationships to one another
its long history, refined as both a tool and an object of
depending upon the shifting perspective of the viewer. Laid
artistic focus. The advent of the toggling harpoon in about
out two-dimensionally, the composition is revealed to be
1500 bc was particularly revolutionary in its development.
bilaterally symmetrical.
Elements of these harpoons—head, foreshaft, socket piece,
When used in the hunt, the hollow socket piece held
and counterweight—were made of walrus ivory and, over
the foreshaft of the harpoon head at one end and was
time, artists began to embellish them with delicately incised
placed over the main shaft of the harpoon like a sheath or
designs. Spirits that attracted game and that fortified the
cap, lashed securely with cord. The detachable blade was
harpoon itself were among the depictions in these drawings.
placed over the end of the foreshaft in like fashion and was
By the first half of the first millennium ad, the incised
attached to a long cord lead which was tied off elsewhere,
patterns had become both elegant and complex and often
ensuring the blade of the harpoon would not be lost when
included “hidden” or cryptic images.
separating from the foreshaft and allowing the hunter to
This finely worked socket piece offers a showcase of the
haul in his prey once the harpoon had struck the mark.
enigmatic curvilinear designs found on decorated toggling
Devoid of any accompanying harpoon elements, this
harpoons. The incisions wrap around the full surface of
beautifully made socket piece may have been repurposed
the cylinder, presenting a flowing host of bowed, cell-like
for another use.
motifs and sharply pointed elements that overlap and
harpoon socket piece fragment
33
34
harpoon socket piece fragment
Kenneth Pushkin, hunting with the St. Lawrence Islanders in Roger Silook’s umiak off the coast of Gambell, 1978. KENNETH PUSHKIN
Kenneth Pushkin was a pioneering dealer on St. Lawrence Island. Throughout the 1970s, Pushkin travelled to remote regions of northwest Alaska where he lived with the native Yup’ik. In addition to building collections for such institutions as the Metropolitan Museum of Art and the De Menil Foundation, he authored the text Seevookak, the Ancient Art of St. Lawrence Island, Alaska.
harpoon socket piece fragment
35
36
harpoon socket piece fragment
7
MINIATURE HUMAN FIGURES from left to right
GREENLAND 19th century Ex UK private collection
THULE ST LAWRENCE ISLAND c. ad 1000–1600 Ex Faith-Dorian and Martin Wright Collection
THULE ALASKA c. ad 1000–1600 Ex Trifles Antiques, Maine
OLD BERING SEA I/OKVIK STYLE WESTERN ALASKA c. 200 bc– ad 100 Ex Faith-Dorian and Martin Wright Collection
This group of five figurines illustrates the broad stylistic spectrum of Arctic figural representation across the centuries, from extreme abstraction to relative naturalism. Diminutive in size but often monumental in bearing, these disparate forms are united by the enigmatic aura so characteristic to Arctic art. Dolls and figurines have been carved across the Arctic since prehistoric times. The full breadth of their meanings and uses is unknown, but scholars believe they acted
GREENLAND 19th century Ex Private UK collection
variously as effigies for living persons, fertility charms, channels for spiritual activity or simply children’s dolls for play and didactic purposes. Given the widespread use of animal charms among Arctic cultures, it is likely that human figurines also held similar magical symbolism and
Heights: 1 ¼ in to 1 ¾ in
were employed by shamans.
m i n i at u r e h u m a n f i g u r e s
37
38
m i n i at u r e h u m a n f i g u r e s
m i n i at u r e h u m a n f i g u r e s
39
40
m i n i at u r e h u m a n f i g u r e s
m i n i at u r e h u m a n f i g u r e s
41
42
m i n i at u r e h u m a n f i g u r e s
8
KNIFE WITH FOX HEAD OLD BERING SEA I/OKVIK STYLE ST LAWRENCE ISLAND, ALASKA c. 200 bc – ad 100 Walrus ivory Height: 1 ½ in Length: 5 ¾ in PROVENANCE
Kenneth Pushkin, Albuquerque, NM collected in situ on St Lawrence Island in 1978 George Terasaki, New York Private Collection, New York
Composed with uncommon beauty, this ivory knife is
circumference, this knife would have been used to cut and
extremely rare and may be the only known example of
prepare raw materials such as hide. The user’s hand would
its kind. Both faces of its broad, planar form show classic
rest over the top edge of the blade, gripping the spine of
Okvik decoration with long, doubled, ray-like incisions
the knife with the forefinger placed on the back of the
fringed with spurs spreading down and away from the
animal head. The soft, rounded edges of the knife attest to
upper center of the piece, with light dashes interposed
a history of use, and a small loss has been sustained on the
between. A small animal head projects out from one upper
side opposite the animal head, possibly reflecting a second
corner, probably representing an Arctic fox or red fox. The
animal head, although this is conjecture.
ivory has been worked to a fine thinness and boasts a deeply
This piece has a rich provenance, having been obtained in
contrasting two-tone appearance conjuring an image of
situ on St. Lawrence Island in 1978 by Kenneth Pushkin, a
islands resting in a bay, over which the incised designs seem
vigorous collector and early dealer in Arctic art, from whom
to elegantly float.
it passed to legendary Native American art collector George
Ridged with undulating serrations around its full
Terasaki.
k n i f e w i t h f ox h e a d
43
44
k n i f e w i t h f ox h e a d
k n i f e w i t h f ox h e a d
45
46
k n i f e w i t h f ox h e a d
GEORGE TERASKI
George Terasaki (1931–2010) was synonymous with sculptures and objects of great power and pedigree. The passion of his life was the discovery and elevation of artistic masterpieces from the indigenous cultures of North America, and many artworks which passed through his hands are now in major institutions and distinguished private collections. As an artist himself, Terasaki had an exquisitely developed eye that guided his early instincts and helped shape his celebrated collection. While studying art at The Cooper Union in New York City in the 1950s, Terasaki met painter Merton D. Simpson, who would later go on to become one of the greatest promoters of classical African art as its foremost dealer in New York. Terasaki was inspired by this early exposure to tribal art and, beginning with small objects, he began to acquire early artworks from the overlooked cultures of North America. Relentlessly seeking new discoveries across the United States, his collection grew rapidly in size and stature, and through Simpson he sourced objects from Europe. By the 1970s he had begun to George Terasaki in his studio, circa 1950
build a reputation as a “Dealer in North American Indian Art,” as his advertisements billed. In time, Terasaki became the preeminent dealer in his field. Maintaining a personal collection of objects he particularly treasured, Terasaki lovingly photographed them himself, and in 2006 published an important book on his collection of Northwest Coast Art entitled Transfigurations: North Pacific Coast Art.
k n i f e w i t h f ox h e a d
47
48
k n i f e w i t h f ox h e a d
9
SNOW KNIFE, PANA ESKIMO ALASKA 19th century Walrus ivory, fiber Length: 21 ¼ in PROVENANCE
Mathias Komor, New York Faith-Dorian and Martin Wright Collection, New York acquired from the above on October 1, 1968
A snow knife, known as a pana in Iniktitut, is used in
journeys. When Europeans first began to arrive in Alaska,
building igloos or creating a blind when hunting caribou.
they collected many snow knives as the Arctic peoples
The knife is used to trim snow into blocks so that they
enthusiastically traded them for more efficient metal saws
can be stacked together on top of one another, forming a
and knives, which they still use today. This exceptionally
temporary shelter to protect those inside from the effects of
elegant example features seven finely engraved caribou, with
the weather. When the ice is sufficiently built up, it insulates
a zigzag cord for grip.
those inside and creates a warm environment. Pana are relatively simple to make and replace but are
Faith-Dorian and Martin Wright acquired this snow knife from Mathias Komor, a New York City art dealer, who
a crucial tool for nomadic family groups moving between
started dealing in the 1930s and was one of the pioneering
permanent settlements or for hunters on extended
American dealers in ancient and tribal art.
s n o w k n i f e , pa n a
49
50
s n o w k n i f e , pa n a
s n o w k n i f e , pa n a
51
52
s n o w k n i f e , pa n a
10
HARPOON BLADE CONTAINER ESKIMO WESTERN ALASKA Late 18th / early 19th century Walrus ivory, wood, cord Height: 5 in Width: 2 in PROVENANCE
Edmund Carpenter Jeffrey Myers, New York
Carved ivory boxes of this type date back at least to the Old
may symbolize the immutable relationship between hunter
Bering Sea culture on St Lawrence Island. Often referred
and prey and provide magical support in binding the
to as “point holders,” they were used to store ground slate
spirit of the animal to its fate, ensuring a successful hunt.
points that were inserted into ivory harpoon heads. While
Embodying the beliefs of those who used it, this work is
similar pieces carved from wood have been identified
both a tangible manifestation of the idea of the hunt and a
as “fungus ash boxes,” associated with chewing tobacco,
practical tool to be employed therein.
or “trinket boxes,” used to hold sundry small items, the
Known in simpler form since prehistoric times, carved
sea mammal imagery and the use of ivory suggests this
ivory chain link compositions grew more complex over the
container held harpoon blades.
centuries and became some of the finest achievements of
The artist’s skill in crafting this elaborate box, cut from
Arctic art during the nineteenth century. An old repair on
a single piece of ivory, is evident in the openwork carving
the side of this box attests to the importance and value its
of the chain links connecting the body of the container to
owner placed upon it.
the pair of seal head pendants. This linked composition
h a r p o o n b l a d e co n ta i n e r
53
54
h a r p o o n b l a d e co n ta i n e r
EDMUND “ TED” SNOW CARPENTER
Born in Rochester, New York, Edmund “Ted” Snow Carpenter (1922–2011) was a renowned visual anthropologist known for his work with indigenous peoples of the Canadian Arctic and Papua New Guinea, and as a pioneer in the development of media theory. He was also a filmmaker and collector of Paleo-Eskimo art and conducted archaeological research in Siberia. Carpenter began his fieldwork with the Avilik (Nunavut Inuit) during the great winter famine of 1951–52. When public television began broadcasting in Canada in 1950, Carpenter produced a series of programs. His comings and goings between the Toronto recording studios and the Arctic camps sparked his interest in the ideas then being developed by Harold Innis and Marshall McLuhan in communication theory, and he joined forces with McLuhan to develop theories on the role of modern media in the process of cultural change. In 1953 they received a grant from the Ford Foundation for an interdisciplinary media research project, which provided funding for their Seminar on Culture and Communication (1953–59) and the publication of the seminal Explorations Edmund “Ted” Snow Carpenter, c. 1970s
journals. Carpenter later did similar work in Papua New Guinea at the invitation of the Australian government, studying the effects of modern media on traditional peoples. In addition to his extensive research, writing and teaching on the subject of anthropology, Carpenter and his wife, Adelaide de Menil, assembled a world-class art collection, with a strong focus on the ancient walrus ivory carvings from the Old Bering Sea cultures. His keen visual sensibilities and sensitivity to the art made by non-Western cultures fostered a unique study collection, eventually establishing the largest private collection of Paleo-Eskimo art in the United States, now housed at the Menil Collection, Houston. Carpenter was also responsible for the landmark survey of ancient Arctic art, Upside Down, installed at the Musée du Quai Branly in 2008 and reconstructed at the Menil Collection in 2011.
h a r p o o n b l a d e co n ta i n e r
55
56
h a r p o o n b l a d e co n ta i n e r
h a r p o o n b l a d e co n ta i n e r
57
58
h a r p o o n b l a d e co n ta i n e r
11
HUNTING AMULETS ALEUT ALEUTIAN ISLANDS, ALASKA Late 19th century Walrus ivory Length: 1 ¾ in smallest to 2 ¾ in largest Exhibition history: Once Something Has Lived It Can Never Really Die, American Museum of Folk Art, 2016 PROVENANCE
Jeffrey Myers, New York City
While their exact use is unknown, these seven whale figures
could be strengthened, or desirable attributes could be
were probably used as protective amulets for a hunter,
manifested upon an unborn child.
possibly worn as a group around the neck. The presence of
Most Inuit owned more than one amulet, sewing them
dorsal fins makes it likely that six of these figures represent
into clothing or wearing them on a belt so the wearer
Orcinus orca, a toothed whale belonging to the oceanic
could remain under their influence and protection at all
dolphin family. The seventh figure, with ridged back and
times. With the introduction of Christianity, the practice
lacking a dorsal fin, may depict a species of baleen whale.
of using amulets began to disappear. Amulets became
The power of amulets is usually derived from the
symbols of Inuit interaction with non-Christian spirits and
spirits associated with the materials from which they are
were layered with social stigma. While detailed knowledge
constructed. A bond is created between an amulet’s resident
regarding traditions of amulet use has been lost, the practice
spirits and its wearer, channeling certain characteristics and
continues on a smaller scale in certain regions of the Arctic,
abilities between them. For example, a hunter’s prowess
sheltered from public knowledge.
hunting amulets
59
60
hunting amulets
12
THE FAITH-DORIAN AND MARTIN WRIGHT CLOSED-CROWN HUNTING HAT ALEUT ALEUTIAN ISLANDS, ALASKA Late 18th or early 19th century Wood, walrus ivory, glass trade beads, vegetal fiber, sea lion whiskers, fiber, paint Length: 15 ¾ in Height: 8 in PROVENANCE
French collection, based on late 18th or early 19th century label John J. Klejman, New York Faith-Dorian and Martin Wright Collection, New York, acquired from the above on March 12, 1969
Rare and majestic, bentwood closed-crown hunting hats
and skilled whalers commanded significant social prestige as
embody a remarkable convergence of Eskimo art traditions.
well as a marked degree of ritualistic awe. The magical power
Combining the techniques of woodworking, painting, ivory
with which they were associated was profound. Scholar Lydia
carving, gear-craft, and magical symbolism, these works
Black has argued the closed-crown hat in fact represents a
represent a special synthesis that has few parallels in the
unique form of mask that transformed the hunter and
Arctic world. Hats of such projecting length were rare among
endowed him with supernatural ability to seek out and claim
the Aleut who created them, and though the complete
his prey. Eye motifs and ranks of curved bands are invariably
range of contexts in which they were used is unknown, it is
found painted on these hats, designs which Black identifies as
understood they were a type of whaler’s hat worn exclusively
stemming from archaic Old Bering Sea and Okvik traditions
by chiefs and exceptional hunters. Closed-crown hunting
and which symbolize all-seeing universal vision and cyclical,
helmets as a general type in Alaska date to prehistoric times,
cosmic regeneration. In addition, animal figurines carved of
and the peaked form seen here originated in the headgear of
ivory were often attached to these hats. Charms such as these
Kodiak Island, with influences from the woven hats produced
were a widespread hallmark of Arctic cultures and helped
by Tlingit tribes of the Pacific Northwest.
to metaphysically align their bearer with the spirits of their
Whaling was a highly spiritual and ritualized practice,
quarry, ensuring a successful hunt.
t h e fa i t h - d o r i a n a n d m a r t i n w r i g h t c lo s e d - c r o w n h u n t i n g h at
61
62
t h e fa i t h - d o r i a n a n d m a r t i n w r i g h t c lo s e d - c r o w n h u n t i n g h at
t h e fa i t h - d o r i a n a n d m a r t i n w r i g h t c lo s e d - c r o w n h u n t i n g h at
63
64
t h e fa i t h - d o r i a n a n d m a r t i n w r i g h t c lo s e d - c r o w n h u n t i n g h at
Young or inexperienced hunters wore a common, shortbilled visor made of wood, baleen, or sea mammal skin, and as he advanced in age and skill he would graduate to a long-billed visor. With sufficient success and honor, he could eventually attain the closed-crown hat of the expert whaler, the peaked form of which differentiated its wearer from the rest of the community. Closed-crown hats were constructed through a laborious process that began with the rare discovery of large pieces of driftwood, usually spruce, cedar or birch. The makers carefully cut and scraped out the found wood into a thin plank flexible enough to bend into shape, then steamed and softened it by using hot stones and pouring water over the wood. They then bent the wood into the desired shape and fastened the ends together at the back of the hat using sinew or baleen threads. Once complete, the craftsmen decorated the headgear with painted designs, as well as bone plates (volutes), ivory or bone figurines, and sea lion whiskers, depending on the level of elaboration. The paints used were mostly made with mineral pigments and were mixed with bodily fluids such as blood plasma or mucus as a binding agent. One of the earliest records of a closed-crown hat was noted by Carl Heinrich Merck in 1778, when an Unangan
Man and woman dressed in ceremonial attire. Aleutian Islands,
group was seen capturing a whale at Unalaska Island.
c1862 Karl F. Gun
Merck had also begun to record the details of these hats by at least 1790, stating specifically that the motif of the eye
a pointed wooden hat with an umbrella-like projection over
was associated with them in every case. By the nineteenth
the eyes and is rounded cap-like in the back.”
century, further recordings of the headgear were noted
The example presented here shows both the fine
by other explorers. During his voyage to Unalaska Island
craftsmanship and extensive decoration that characterize
in 1805, German naturalist, explorer, and diplomat Georg
these magnificent hats. Faded polychrome stripes and eye
Heinrich von Langsdorff described a closed-crown hat,
motifs, once vivid with red, black and blue-green pigments,
observing that “the most elegant and expensive headdress is
adorn the surface. Two trios of beads stand up from the top
t h e fa i t h - d o r i a n a n d m a r t i n w r i g h t c lo s e d - c r o w n h u n t i n g h at
65
66
t h e fa i t h - d o r i a n a n d m a r t i n w r i g h t c lo s e d - c r o w n h u n t i n g h at
t h e fa i t h - d o r i a n a n d m a r t i n w r i g h t c lo s e d - c r o w n h u n t i n g h at
67
68
t h e fa i t h - d o r i a n a n d m a r t i n w r i g h t c lo s e d - c r o w n h u n t i n g h at
of the hat, tied with fiber through the surface of the wood.
is found on the top surface of the visor, reading “Chapeau
A large, vertical volute is found at the rear of the hat, its
d’un naturel – Detroit de Behring.”
edges worked with semi-circular cutouts to form a pattern
Closed-crown hats were already uncommon in the eras
resembling peaked ocean waves. Holes bored into the volute
in which they were created and are of extreme rarity today.
hold a group of sea lion whiskers that project far out from
In her book Glory Remembered: Wooden Headgear of Alaska
the back of the hat, remnants of a hunter’s prestige crest that
Sea Hunters, scholar Lydia Black identified just fifty-one
would have bobbed and waved in the breeze. There is an old
known examples of this type around the world, held almost
indigenous repair along the right front side of the hat, attesting
exclusively by institutions in Russia, Europe and the United
to the value, efficacy and importance of this hat to its owners.
States. Black refers to a single known example at the time of
By the end of the eighteenth century, at least two hundred
writing in private hands, which may be the hat offered here.
European scientific and commercial voyages had been made
The detailed workmanship, exceptional condition and deep,
up the northwest coast of North America. Navigators from
rich patina of this hat place it among the best examples known.
Russia, Britain, Spain, France, and the United States set
Objects of this rarity, age, and quality seldom, if ever, come
out to claim what they could for their nations in the New
to the market and we are honored to present this stunning
World, and this hat was probably collected by a French
example, held in a private collection since 1969 and offered
expedition at that time. An old, handwritten collection label
for the first time in over fifty years.
t h e fa i t h - d o r i a n a n d m a r t i n w r i g h t c lo s e d - c r o w n h u n t i n g h at
69
70
t h e fa i t h - d o r i a n a n d m a r t i n w r i g h t c lo s e d - c r o w n h u n t i n g h at
13
PORTRAIT MASK INUPIAT UGIUVAK (KING ISLAND), ALASKA 19th century Wood Height: 9 ¼ in PROVENANCE
Jeffrey Myers, New York Faith-Dorian and Martin Wright Collection, New York
This highly expressive Inupiat portrait mask, carved in
relatively small size may be a result of more limited supplies
plain wood, shows crescent moon eyes, a triangular nose,
of wood, given that Inupiat villages are found mostly north
and a broadly curved smile in a gently convex face. Two
of the Arctic Circle, well above the tree line. Inupiat masks
large labrets attached near each corner of the bottom
bear similarities in form to more ancient Old Bering Sea
lip, one domed and the other rectangular, are the mask’s
sculptural traditions – not surprisingly, as the Inupiat share
only additional details. The visible wood grain plays a
both the same land and, probably, an intact lineage from
subtly decorative role, rippling beautifully across the brow
their ancestral forebears.
and chin. Designed with a prominent crescent theme
In Inuit culture, masks were used by a shaman (angakok),
throughout the face, this mask may carry associations
the only member of the community with sufficient power
with the moon. Masks similar to this example have been
to control the spirits of nature. Masks enabled them to
collected at Point Hope, an Inupiat community on the
communicate with the spirits and understand their needs,
northwest coast of Alaska.
and to give recommendations on how to appease them.
Inupiat masks are typically less elaborate than those
Guidance from the angakok often emphasized a carefully
made by their culturally and ethnically related Yup’ik
observed code of behavior that would preserve a positive
neighbors to the southeast, crafted in the plain style seen
relationship with the spirits, upon whose goodwill the life of
here and usually large enough to cover the face alone. Their
the community depended.
portrait mask
71
72
portrait mask
14
SCRAPER OR HAND PICK GREENLAND 19th century Walrus ivory Height: 8 ½ in Width: 2 ½ in PROVENANCE
Rick Gallagher, New York City
Ergonomic grooves and indentations sculpt the body of this nineteenth-century hide scraper. Arctic and Paleo-Eskimo peoples employed an array of handcrafted scrapers for the preparation of skins, carving, and other varied uses. While many scraper designs comprise a wooden haft bound to a chipped stone blade, this example has been carved entirely of a single piece of ivory. The British Museum holds a similar object, described as an Eskimo-Aleut pick blade. With its worn, aged surface and abstract sculptural quality, this scraper carries the ineffable sense of hard-fought, eternal continuance so palpable in Arctic art traditions.
scraper or hand pick
73
74
scraper or hand pick
15
BOX HANDLE WITH POLAR BEAR HEAD ESKIMO WESTERN ALASKA 19th century Walrus ivory Length: 5 3/8 in PROVENANCE
Harry Geoffrey and Irene Beasley, Cranmore Place, Chislehurst, England (cat. no. 27.7.24) Faith-Dorian & Martin Wright Collection, New York
Arctic artists carved a vast array of objects in ivory, from magical charms and solemn figures to everyday, utilitarian implements. Animal images, especially those of marine mammals, were some of their favored subjects, and any object, no matter how small or prosaic, presented an opportunity for creativity. The box handle presented here has been reimagined by its carver as a polar bear. Despite its small size, the artist was able to invest its simple features with a remarkable degree of expressiveness and sensitivity. With ears tucked back and inquisitive eyes gazing out beneath a gentle brow ridge, the bear seems almost aware. Nostrils are flared and the bear shows its teeth, which have been carefully picked out between the slightly open jaws. A handwritten Beasley Collection label is found on the underside of the piece, which reads “Esquimaux. Behring Straits. Womens Box Handle. 27.7.24.”
b ox h a n d l e w i t h p o l a r b e a r h e a d
75
76
b ox h a n d l e w i t h p o l a r b e a r h e a d
HARRY BEASLEY
Harry Beasley (1881–1939) was born in East Plumstead in Kent, England and developed an interest in ethnography at a young age. Privately wealthy after inheriting the North Kent Brewery, he became a Fellow of the Royal Anthropological Institute in 1914 and was an active member until 1937, serving as vice-president between 1932 and 1937. With his wife, Irene, Beasley settled in Cranmore House in Chislehurst and there set up the Cranmore Ethnographical Museum, which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and the American Northwest. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during World War II, which was fortunate as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, University of Cambridge, the Pitt Rivers Museum and the Merseyside County Museum. Other pieces were sold by his widow and, Harry Beasley
after her death in 1974, by their daughters.
b ox h a n d l e w i t h p o l a r b e a r h e a d
77
78
b ox h a n d l e w i t h p o l a r b e a r h e a d
16
BAG HANDLE PUNUK ST LAWRENCE ISLAND, ALASKA ca. ad 500 – 1200 Walrus ivory
S E WA R D K E N N E DY
Length: 4 ½ in
Seward Kennedy (1925–2015) graduated from Massachusetts Institute of Technology and New York University Law
PROVENANCE
School and began his professional career as a lawyer for
Seward Kennedy, London and New York City
Mobil Corporation, a position which required extensive travel in the late 1950s to Cairo, Athens, Istanbul and
The keen imagination of Arctic carvers often transformed prosaic implements into surprising and clever works of art. Tracing the elongated, gently flowing outline of this simple shape is a pleasure for the eyes, one further enriched by the carefully executed incised linework. Centuries of age and exposure have darkened the surface of the ivory to a warm, mottled brown. The exact use of this object is unknown but given its size and design it was likely used as a bag handle or end piece of a needle case.
Nicosia, cities that were a seedbed for his natural curiosity. Fascinated by myriad cultures, he sought tangible representations that he could afford, devoting free time to a perusal of other worlds. During his formative years as an itinerant lawyer, Seward quietly nurtured a parallel and never-ending quest for disappearing cultures. By the early 1960s, he maintained residences in London and Paris, adding New York City to his roster in 1971. Seward collected Classical, Chinese, Indian, European, African, and Oceanic art. Thousands of idiosyncratic objects lay perennially layered on tabletops, shelves and in tumbled piles throughout his residences on Park Avenue in New York City and Norland Square in London’s Notting Hill. His fascination knew no bounds. Outside Seward’s offices on Berkeley Square, during lunch hour, a constant string of dealers circulated by to sell him something exquisite. Although profoundly acquisitive, Seward chose judiciously too. At eighty-nine years of age, infirm but undeterred, he bought several pieces a mere two weeks before he died. A custodian, he guarded objects for their inherent beauty, invention and purpose; equally, he dreaded their lack of appreciation and disappearance. Angus Wilkie, 2016
Seward Kennedy bag handle
79
80
bag handle
17
TRACE GUIDE PUNUK ST LAWRENCE ISLAND, ALASKA c. ad 500 – 1200 Walrus ivory Length: 8 in PROVENANCE
John J. Klejman, New York Faith-Dorian and Martin Wright Collection, New York, acquired from the above on December 20, 1971
Rounded on both ends and drilled with three large holes through both of its indented sides, this gently curved trace guide was used to organize and separate the rawhide traces of a dog sled. The slightly convex top surface is decorated with a beautiful geometric composition showing looping and crossing bands framing rows of triangular motifs that point symmetrically outward from the center line. A lovely blend of mottled golds and browns clouds the surface of the aged ivory, which is smoothed to a gloss. Walrus ivory was a precious resource for the peoples of the Arctic and was used in the crafting of objects concerning all aspects of life, from the recreational to the ceremonial. Decoration of ivory pieces could be very minimal, but some showcase the skill of Arctic carvers in sharp, linear incised designs. The geometric engraving seen here is strong and boldly executed in contrast to the rather delicate designs found on some other Arctic objects, making it a striking example of its kind.
trace guide
81
Walrus harpoon collected from Barrow, Alaska. Handbook of North American Indians, Volume 5: Arctic, 1984. Illustration by Robert F. Spencer
82
trace guide
A SELECTION OF FINE TOGGLING HARPOON HEADS
The toggling harpoon is an ancient weapon and tool used
the Red Paint culture of New England and Atlantic Canada
to pierce and anchor into an animal when thrown. Unlike
(c. 5,500 – c. 4,000 bc). The earliest known toggling harpoon
earlier harpoons that had only a single, fixed point, a
head was found at a 7,000-year-old Red Paint burial site of a
toggling harpoon has a detachable two-part point. One
young child in Labrador, Canada, known as L’Anse Amour.
half of the thrusting end is secured to the shaft, while the
They were probably used to hunt swordfish and seals, the
other half of the point, which holds the blade, is fitted into
bones of which have been found at Red Paint sites.
the first half, with a long cord of sinew or another string-
Toggling harpoon technology was later used by the Thule
like material trailing from the point. When the harpoon is
culture (c. 700 bc–present) of the Western Arctic, in the
thrust into an animal, the blade point element detaches and
Bering Strait area and further south along the coasts of
twists horizontally into the animal beneath its thick skin,
Asia and Alaska. The toggling harpoon was part of a rich
affixing itself in the muscle and allowing hunters to haul the
complex of hunting technology that focused intensely on
animal to ship or shore.
the sea, and its emergence greatly benefited the peoples of
Toggling harpoons have their earliest association with
the Arctic in their perennial pursuit of game.
a s e l e c t i o n o f f i n e to g g l i n g h a r p o o n h e a d s
83
84
a s e l e c t i o n o f f i n e to g g l i n g h a r p o o n h e a d s
a s e l e c t i o n o f f i n e to g g l i n g h a r p o o n h e a d s
85
86
a s e l e c t i o n o f f i n e to g g l i n g h a r p o o n h e a d s
18
HARPOON HEAD OLD BERING SEA II EXCAVATED AT THE OLD VILLAGE SITE OF KUKULIK, ST LAWRENCE ISLAND, ALASKA 300–500 ad Walrus ivory Length: 5 ¼ in PROVENANCE
Jeffrey Myers, New York City
Zoomorphic imagery is prevalent in this beautiful harpoon
Arutiunov notes that “the harpoon head can be regarded
head, the primary form of which resembles the head of a
as an idealized predator or the materialization of a bite; its
bird. Incised with exquisite, sensitive geometric linework
round ornamental details can often be interpreted as an
of a range of weights and depths, the surface is divided into
animal’s eyes, and the shape and ornamentation of its basal
myriad overlapping elements that produce a variety of eyes
spur as hind legs or flippers.” Arutiunov adds that some
and abstracted animal forms, including that of a seal. Heavy
designs may have had totemic significance and may have
mottling to the ivory is present, testifying to the great age of
identified personal or clan ownership. Their appearance on
this work.
harpoon heads “often identified the person who struck –
The representation of animals in harpoon heads had
and therefore owned – the animal.”
a significance both metaphorical and magical. Sergei
harpoon head
87
Jeffery Myers, traveling from the village of Savoonga, St. Lawrence Island to the digging site at Gambel where Henry Bascom Collins had first excavated. JEFREY MYERS
Jeffrey Myers is considered one of the foremost experts in Eskimo Art, having been a dealer for over 35 years, 28 years of which he field-collected among the Bering Sea natives, living part of each summer in Savoonga, St Lawrence Island.
88
harpoon head
harpoon head
89
90
harpoon head
19
HARPOON HEAD OLD BERING SEA III EXCAVATED AT THE OLD VILLAGE SITE OF KUKULIK, ST LAWRENCE ISLAND, ALASKA 300–500 ad Walrus ivory Length: 4 3/8 in PROVENANCE
Jeffrey Myers, New York City
Sweeping, graceful linework elaborates the surface of
nearly black with age, visually melds the greater form with
this magnificently composed harpoon head, along with
the fine details, subduing them in a way that draws the gaze
a number of circle motifs. The circles rest over subtle
closer, inviting investigation.
protrusions in the body of the form, lending an organic
The carving style presented here is masterfully controlled
impression to the eye-like design. A sense of continuous
but executed with a freedom which differentiates Old
rhythm and unfolding imagery is expressed in the dialogue
Bering Sea II or III harpoon heads from the strict, angular
of details, and new interpretations and relationships
formulations more common to Okvik or Old Bering Sea I
between them are produced as the viewer shifts their
carvings.
perspective and focus. The dark appearance of the ivory,
harpoon head
91
92
harpoon head
harpoon head
93
94
harpoon head
20
HARPOON HEAD LATE OLD BERING SEA III OR EARLY PUNUK ST LAWRENCE ISLAND, ALASKA 600–900 ad Walrus ivory Length: 6 ¼ in PROVENANCE
Martin Doustar, Brussels
This fine harpoon head shows a streamlined, aerodynamic
to an individual hunter, or a creature known to be a swift
silhouette and an overall form reminiscent of the head
and cunning predator. All of these have spiritual and
of a bird or whale. It is decorated with a relatively spare
metaphysical significance, invoking spirit-helpers who
composition of lightly incised linework and circle-and-dot
support and empower the hunt. Though deeply associated
motifs which, conspiring with the planes and outlines of the
with harpoons, these designs are found carved on a wide
surface, suggest a variety of bird-like faces.
variety of hunting gear, including float-boards, boat hooks,
Animals portrayed in harpoon heads may depict the
and weapon storage boxes.
hunter’s intended quarry, an animal with specific meaning
harpoon head
95
96
harpoon head
harpoon head
97
98
harpoon head
21
HARPOON HEAD OLD BERING SEA I / OKVIK STYLE ST LAWRENCE ISLAND, ALASKA c. 200 bc – ad 100 Walrus ivory Length: 3 in PROVENANCE
Kenneth Pushkin, Santa Fe
A classic Old Bering Sea toggle harpoon head. Though two thousand years old, the sleek, aerodynamic shape brings to mind a twentieth-century fighter jet. The body is gracefully sculpted with panels and pointed projections that resemble interleaved feathers or wings, all decorated with carefully incised lines and dashes that elaborate the surface beautifully. All the features of this harpoon head conjure impressions of flight and speed, attributes which would have advantaged the hunter. Great age and a degree of erosion have left the ivory with a rich brown hue and wood-like texture.
harpoon head
99
100
harpoon head
22
HARPOON HEAD MAINLAND THULE ST LAWRENCE ISLAND, ALASKA 1600–1800 ad Walrus ivory Length: 9 in PROVENANCE
Jeffrey Myers, New York Noble Endicott, New York City
This exceptional whaling harpoon head shows a refined elegance in its long, sweeping form. Eschewing the dense surface detailing of many toggling harpoon heads, the creator of this beautiful example opted for a striking essentialism, focusing entirely on the grace of the silhouette and a highly restrained modeling of form. Despite this simplicity of design, the skill of the artist in executing this harpoon head should not be underestimated. Great patience, accuracy and aesthetic subtlety are evident in the fine lines carved in relief down the length of the head, suggesting this minimalist work was conceived by a highly experienced carver.
harpoon head
101
102
harpoon head
harpoon head
103
104
harpoon head
23
HARPOON HEAD OLD BERING SEA I / OKVIK STYLE ST LAWRENCE ISLAND, ALASKA c. 200 bc – ad 100 Walrus ivory Length: 4 ½ in PROVENANCE
Kenneth Pushkin, Santa Fe
This toggling harpoon head tapers quickly from its broad base to a sharply pointed, knife-like tip. As in nearly all such harpoon heads, abstract and undefined animal imagery can be read in its details and general structure, open to the interpretation of the viewer. The raised back edge is elaborated here with multiple points and is etched with the fine, spurred lines that are a trademark of classic Okvik design.
harpoon head
105
106
harpoon head
24
HARPOON HEAD PUNUK ST LAWRENCE ISLAND, ALASKA 600–900 ad Walrus ivory Length: 4 in PROVENANCE
Seward Kennedy, London and New York City
The outline of this ivory toggling harpoon head is punctuated in several places by raised points, enhancing its beauty as well as its aura of barbed lethality. A skillfully etched design of spurred lines and small circle-anddot motifs decorates the ivory surface, surrounding the triangular line hole and spearing toward the harpoon’s tip. The placement of a trio of ring motifs in the forward portion of the head invokes the image of a human face, infusing the greater whole with a subtle sense of anthropomorphism.
harpoon head
107
108
harpoon head
25
HARPOON HEAD THULE ST LAWRENCE ISLAND, ALASKA 1600–1800 ad Animal bone, obsidian, baleen fiber Length: 9 ½ in PROVENANCE
Jeffrey Myers, New York
In contrast to the finely detailed designs of some toggling harpoon heads, this example shows a streamlined geometric form with largely smooth surfaces. A single pair of incised lines, decorated with a few prominent spurs, runs down the center of the head, passing the central line hole and reaching to the back end of the toggle point, which terminates in a clean, acute angle. Notably, this harpoon head retains its blade, made of black chipped obsidian and fastened in its slot with a length of baleen fiber.
harpoon head
109
110
harpoon head
harpoon head
111
112
harpoon head
26
BIRD DART HEAD IPIUTAK NORTHWEST ALASKA 200 bc–ad 800 Walrus ivory Length: 5 ½ in PROVENANCE
Seward Kennedy, London and New York City
Harpoons were not the only hunting gear to which Arctic artists turned their talents. This ivory bird dart head was crafted with remarkable sensitivity in its tapering, fivebarbed form, especially in the small details near the base, which were executed with extreme care and accuracy. A pair of incised lines runs the length of the dart, angling and converging at the center of the point. Similar dart heads were used for spearing fish. The ivory has mottled with age and shows a warm, cloudy coloration.
bird dart head
113
114
bird dart head
BIBLIOGRAPHY
Ancient Eskimo Ivories of the Bering Strait Wardwell, Allen Archaeological Excavations at Kululik, St. Lawrence Island, Alaska Geist, Otto William and Froelich G. Rainey Arctic Ivory: Two Thousand Years of Alaskan Eskimo Art and Artifacts Hurst, Norman Arktische Waljäger vor 3000 Jahren – Unbekannte sibirische Kunst Leskov, A.M. und Müller-Beck, H. Crossroads of Continents, Cultures of Siberia and Alaska Fitzhugh, William W. and Aron Crowell Eskimo Realities Carpenter, Edmund Glory Remembered Wooden Headgear of Alaska Sea Hunters Lydia T. Black; S. V. Ivanov Image Making in Arctic Art, from “Sign, Image, Symbol,” ed. by Gyorgy Kedes Carpenter, Edmund Inua, Spirit World of the Bering Sea Eskimo Fitzhugh, William W. and Susan A. Kaplan La Rime et la Raison Landais, Hubert, et al. Raven’s Journey, The World of Alaska’s Native People Kaplan, Susan A. and Kristin J. Barsness The Far North, 2000 Years of American Eskimo and Indian Art Collins, H. B., F. de Laguna, E. Carpenter, and P. Stone Upside Down: Arctic Realities Carpenter, Edmund
bibliography
115
116
bibliography
COMPLIANCE WITH LAWS AND REGULATIONS
All objects listed in this catalog and the materials
By making an offer to purchase any object contained in this
incorporated in these objects are described to the best
catalog, you represent that you will comply with all laws
of Jacaranda’s knowledge. You should note that certain
(including both the laws of states within the U.S. and foreign
materials, including, for example, walrus ivory and sea lion
laws) applicable to your purchase. Local laws may prohibit
whiskers, come from species that are legally protected.
the possession, transport, import, export, purchase, sale, etc. of objects incorporating protected species materials
Jacaranda operates in compliance with the Endangered
outright or may require a license or permit. You should
Species Act of 1973 (ESA), the Marine Mammal Protection
ensure that you are familiar with the relevant laws and
Act (MMPA), the Convention on the International Trade
regulations prior to purchasing any item incorporating
of Endangered Species (CITES) and all other applicable
material from a protected species, and you should consider
laws. Buyers wishing to export a purchase outside of the
seeking legal advice and/or consulting with the appropriate
U.S. should be aware that the ESA, the MMPA, CITES,
regulatory authorities in the applicable jurisdiction to
U.S. customs laws, as well as the laws of other countries,
ensure compliance. Jacaranda will not be liable for any loss
may further regulate or even prohibit the import/export of
to a buyer due to the seizure, confiscation, or destruction of
objects that incorporate protected species materials. Buyers
an object pursuant to customs regulations or order of any
are responsible for identifying and obtaining any import/
government or public authority.
export permits, licenses, and/or certificates that may be necessary (as well as documentation that may be legally required in the appropriate locality upon import). To the extent that any scientific confirmation of species or age of an object may be required, the buyer will be responsible for obtaining such tests at the buyer’s expense.
co m p l i a n c e w i t h l aw s a n d r e g u l at i o n s
117
ART AND ANTIQUES FROM AFRICA, OCEANIA AND THE AMERICAS
www.jacarandatribal.com dori@jacarandatribal.com T +1 646-251-8528 New York City, NY 10025
PRICES AVAILABLE ON REQUEST
118
co m p l i a n c e w i t h l aw s a n d r e g u l at i o n s