Ojibway Catlinite Effigy Pipe Bowl Attributed To Awbonwaishkum or Pabahmesad, Manitoulin Island, Canada

catlinite, white and pale blue glass seed beads, metal.

English Private Collection
Sold Sotheby's New York, December 4, 1993, lot 114
Private American Collection, acquired from the above

Aspen Art Museum, Art of Grace and Passion, Aspen CO, 1999

Shaw, 1999, p. 20, illustrated

The pipe is in very good overall condition with minor repair and restoration. The pipe is in the same condition that it was in when it last sold at Sotheby's in 1993. The present owners, who bought it from that Sotheby's sale, did not have any work performed on the pipe. The horse effigy and bowl are in fine, original condition. There is a hairline crack on the shaft just below the platform on which the two figures stand (evident in the catalogue image) that has been glued and under blacklight shows possible in-painting. The rectangular platform on which the figures stand is fluted at each corner; this was intended by the maker and should not be confused for damage. There is a small chip on one corner, and another small chip on the long edge. There is a 1 3/4in. break that was re-glued with the original part; hairline is evident but there is a small amount of over-paint. The human figure closest to the bowl is repaired and there is a small amount of restoration on both legs between the knee and ankle; there is a small chip at the heel. Black light suggests original pieces were used plus a small amount of plaster and over paint. Traces of white accretion on the figure's right leg. The opposing figure is in good condition with a small chip to the left leg. Black light suggests that the original piece was re-glued, and a small amount of in-painting. Remarkably, this is one of only three known complete examples by this artist. Artistry, scale, composition, use of negative space and sensitivity of carving are superb.
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.

Much has been learned about the origin of this extraordinary pipe since it was first offered at Sotheby's in 1993. One of six known pipes with the distinctive curved-neck horse created by the master carvers Awbonwaishkum or Pabahmesad on Manitoulin Island prior to 1845, it is the only known example in private hands and one of three thought to be complete; the other two complete examples are in the Karl May Museum in Radebeul Germany and in the National Museum of the American Indian, Smithsonian Institution, Washington D.C. (cat. no. 12/105). It is also the only known example in catlinite. 

The basis for much of what is known about these pipes is the documentation that was made by the Canadian artist Paul Kane, when he visited Manitoulin Island in 1845 and sketched images of the pipes made by these men. A compelling essay by Arni Brownstone on these pipe makers appeared in American Indian Art Magazine, Summer 2011. In his essay he writes: "We now appreciate that the narratives carved on these pipes from Manitoulin Island have complex religious, commercial, humorous, political, mythological and social overtones (2011:63)...Since it is rare to have documentation providing the names of nineteenth-century First Nations artists, we are fortunate to know the identities of the Manitoulin pipe makers Pabahmesad and Awbonwaishkum (ibid)."

Pipes are an integral part of Native American ceremonial life, the smoke from which is thought to carry prayers from the user to a supernatural or spiritual realm. The meaning of the narrative depicted on this pipe is known only to its maker leaving the outside viewer to ponder its significance.

The quality and sensitivity of the carving on this pipe is exceptional and undeniable. The two standing figures, each with their hands pressed to their chest, appear to be bowing to each other in a sign of mutual respect. Or perhaps it is a sign of respect for the function of the pipe itself. The horse, with its gracefully curving neck, stylized mane of finely executed saw-tooth notches, resting its nose on the tulip-shaped bowl, adds complexity and visual appeal to the overall sculpture of the pipe. But, the presence of the horse speaks to the mystery of the natural world, and the emotions that it can conjure.

For additional references: Harper, 1971, pp. 174-175; National Museum of the American Indian, Smithsonian Institution, Washington D.C. Cat. No. 12/105; Royal Ontario Museum Toronto, Cat. No.HD15A.