Oceania, Indonesia, west New Guinea, Huon Gulf / Geelvinck Bay (Cenderawasih Bay), Poon village, ca. 19th to early 20th century CE. An impressive, hand-carved ancestor figure known as a korwar, shown seated atop a pole that was likely previously part of a canoe. Capped with a conical headdress, the fascinating figure sits with his legs drawn up before him and his arms on his knees as they extend to coil inwards, towards his chest. His giant head displays incised eyes beneath a protruding brow, an arrow-shaped nose, a straight mouth, and a square chin, all flanked by a pair of petite ears and topped with a helmet-like coiffure. The pole on which he sits is beautifully adorned with an incised spiral motif. Korwar figures often exemplify the distinctive approach to depicting the human form of the people of New Guinea. This figure would have been kept by the family and consulted during crises. If its advice was good, the figure would be venerated - but if was wrong, the figure could be harmed. Size: 1.4" W x 12.5" H (3.6 cm x 31.8 cm); 12.9" H (32.8 cm) on included custom stand.
According to the Metropolitan Museum of Art, "Created in the Cenderawasih Bay region of northwestern New Guinea, korwar represented individuals who had recently died. Each served as a supernatural container into which the spirit of the newly deceased ancestor could be called for consultation or the presentation of offerings. Korwar imagery was highly conventionalized, depicting the ancestor in a seated or standing position with the robust head and arrow-shaped nose that are the hallmarks of the style. Although the sex of the figures is often difficult to determine, all were originally male or female, depending on the gender of the deceased. Normally kept in the house of the deceased's family, korwar were also carried along on dangerous sea voyages to assure a successful outcome. Cenderawasih canoes had korwar heads incorporated into their prow and stern ornaments, and miniature korwar were carried as amulets. The pervasive presence of these ancestor images protected the living and emphasized the importance of ancestors in all aspects of everyday life."
The stylized forms of korwar are also noted for being an impetus to many Surrealist artists, who took inspiration from many forms of Oceanic art. Notably, Andre Breton (1896 to 1966), author of the "Surrealist Manifesto" (1924), possessed a korwar figure in his personal collection and even wrote a poem about it entitled "Korwar" that was included in his 1948 Oceanic Arts Exhibit catalogue.
This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world's largest database of stolen art, collectibles, and antiques.
Provenance: private Hawaii, USA collection, acquired from 1995 to 2010
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#168275
Condition
Fragment of a canoe. Otherwise, intact and excellent with rich patina.