Masque, Inuit, King Island, Alaska

représentant probablement le « mauvais esprit du tonnerre », caractérisé par un visage aux traits exagérés : menton en pointe, bouche aux lèvres épaisses incurvées vers le bas, pommettes rondes et saillantes, petits yeux percés sous un front en visière, narines dilatées et percées. Bois épais, patine brune avec traces de pigments rouges.

The mask is in very good original condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

cf. Ray et Blaker (1967: 48-48) pour des masques comparables.

Selon Ray et Blaker (idem), les masques Inuit, à l'esthétique surréaliste, doivent être appréhendés « en tant qu'éléments s'inscrivant dans un contexte d'activités religieuses et profanes, où se mêlent histoire, chanson et danse ». L'art du masque relève d'une tradition religieuse émanant du chaman et inspirée par - et pour - les esprits. Le chaman les portait en sa qualité d'intermédiaire, lorsqu'il devait diagnostiquer la cause d'une chasse médiocre ou d'une perturbation météorologique. Ils intervenaient également au cours de fêtes honorant les esprits des animaux ou des oiseaux qui jouaient un rôle clé dans l'alimentation ou qui intervenaient dans la chasse de manière magique ou religieuse. « Parce que les danses exécutées visaient à influencer l'esprit de l'animal et par conséquent son comportement ultérieur, il était non seulement essentiel de concevoir des masques beaux et sensationnels, mais également de sélectionner les meilleurs danseurs qui les porteraient (idem).

An Inuit mask, King Island, Alaska

See Ray and Blaker (1967: 48) for comparable masks.

According to Ray and Blaker, Inuit masks, which are typically characterized by an abstract and surrealistic aesthetic, should not be considered as 'carvings existing in and of themselves, but as part of an integrated complex of story, song, and dance in religious and secular activities' (ibid.). The art of the mask is concerned with a religious tradition derived from the spirits, and created for them by the shaman. The mask was worn by the shaman when diagnosing the cause of a particular misfortune, such as poor hunting or a crisis in the weather. A small number of secular masks were also created, used during festivals honouring the spirits of animals or birds which were important as sources of food or connected with hunting in some magical or religious way. 'Because dances were performed in order to influence the animal's spirit and therefore its subsequent behaviour, it was important not only to make the masks beautiful and exciting, but to select the best dancers to wear them' (ibid.).