korwar

Reportedly Rheinisches Missionsmuseum, Wuppertal-Barmen, circa 1900
Carlo Monzino, Lugano
Sotheby's, New York, November 10, 1987, lot 131, consigned by the above
Masco Collection, Detroit, acquired at the above auction
Sotheby's, New York, May 9, 2006, lot 27, consigned by the above
Myron Kunin, Minneapolis, acquired at the above auction

The Kimbell Museum of Art, Fort Worth, Texas, Island Ancestors: Oceanic Art from the Masco Collection, September 24 - December 4, 1994; additional venues:
Honolulu Academy of Arts, Honolulu, February 2 - March 26, 1995
The Detroit Institute of Arts, Detroit, June 11 - August 6, 1995
North Carolina Museum of Art, Raleigh, March 9 - May 5, 1996

Allen Wardwell, Island Ancestors: Oceanic Art from the Masco Collection, Seattle and Detroit, 1994, p. 35, cat. 3

Very good condition for an object of this type and age. Minor marks, nicks, scratches, abrasions, small chips and cracks consistent with age and use. Shallow old chips to edges of ears. Hairline crack to proper right hand. Fine medium brown patina. Underside with a metal sleeve embedded from a previous mounting. Old remains of an insect casing on proper left side of nose.
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.

In his discussion of the Kunin figure, Wardwell notes: 'Most korwar figures were made for the families of deceased males and occasionally females immediately following their death. During the carving, chants were sung to assure that the spirit power of the ancestor would enter into the figure. The figures then served as intermediaries between the living and the dead. Their advice was sought through the actions of a shaman who went into a trance and was then able to pass on the words of the spirit to the living descendants.' (Wardwell, Island Ancestors, 1994, p. 34).

'There are a number of different regional carving styles represented by korwars, and this piece [the present lot] has been attributed to the Biak people [...]. Most Biak examples, however, depict seated figures, while those showing a standing figure carrying an openwork 'shield' are ascribed to the Doreh people [...]. The nature and meaning of the shield form have generated considerable discussion. Baaren [Korwars and the Korwar Style, 1968, pp. 76-77] believes it to represent a single snake or two intertwined snakes. In the mythology of the region, snakes symbolize the underworld and its dangers as well as the powers of regeneration. Relevant to this object, he also notes that "the snake may also turn out to be a young man. This last conception perhaps offers an explanation for the smaller figure which some korwars have in front of them."'