Lower Sepik River Male Figure, Papua New Guinea

berón kandimbong.

Julius and Josefa Carlebach, New York
Zafrira and Itzhak Shoher, Tel Aviv, acquired from the above

Very good condition for an object of this type and age. Marks, nicks, scratches, and abrasions consistent with age and use. Insect damage to surface in some places including to top of head, proper left brow in wing of animal relief (as seen in catalogue photograph), proper right hip and around proper right knee. Vertical age cracks throughout (stable). Old, over-patinated loss to phallus, as seen in catalogue photograph. Minor chipping around holes for attachment around chin. Barkcloth belt dry but well-preserved. Remains of insect casings in some crevices. Fine aged reddish brown surface with residue, encrustation, and remains of red pigment. Permanently fixed to base (metal plate) with two metal posts in feet.
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 a closely related figure, Smidt (in Kooten and Heuvel 1990: 235-236) notes: "This important figure most likely represents a beron-kandimbong (also spelled kandimboag), a mythical culture hero and clan founder. The term beron means 'loincloth'. A cloth of this sort, made of beaten bark, was formerly worn by adult males after having undergone an initiation ceremony for the first time. [...] The conical point on the head was for attaching a wig of human hair, and eventually a funnel-shaped 'hive' up through which the hair was pulled to terminate in a knot. [...] The holes in the edging of the face was for attaching a plaited fringe such as that given to masks, for the purpose of attaching a beard of human hair, a wreath of shell ornaments, or feathers. [...] The pervading redness of the figure refers to the custom of smearing the body for festive occasions with burnt red earth mixed with coconut oil. [...]

"Such figures were displayed in the men's ceremonial house and were worshipped as beings with souls. During the initiation of the son of the owner a spear was placed next to the kandimbong, as a sign that the figure was filled with magic power. The spear was to point all at once at the boy who would then go into a trance as [interpreter] of the kandimbong. The spirit of the figure could also appear in dreams to the owner, often a renowned member of the clan, and speak and sing to him. This figure will have played a role of seminal importance as to the well-being of a clan, probably in particular regard to hunting, initiation, and love. In the naturalistic hallmarks of the human body this figure refers to man, in the [...] decorative elements to man in festive dress, and thus at the same time to the transformation from man to supernatural being. Through this, and through the artistic eloquence with which the artist has managed to breathe life into it, it remains a wonderful testimony of the unity of man and the 'invisible'."

The Shoher figure is distinguished by its refined carving style and the bird or flying fox motif on the forehead. For a closely related figure previously in the collection of Allan Stone see Christie's New York, Selections from the Allan Stone Collection, November 12, 2007, lot 647.