UNIDENTIFIED TLINGIT ARTIST, Amulet, c. 1840-60
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Description
UNIDENTIFIED TLINGIT ARTIST
Amulet, c. 1840-60
antler and abalone, 3 x 2.75 x 0.5 in (7.6 x 7 x 1.3 cm)
unsigned.
Provenance
The Allen and Sally Wardwell Collection, New York, NY;
A New York Collection.
Published: Allen Wardwell, Tangible Visions: Northwest Coast Indian Shamanism and its Art, (New York: The Monacelli Press, 1996), no. 82, p. 105.Amulets were made in a wide variety of shapes and sizes on the Northwest Coast, some for the use of shamans, who saw them as receptacles of spirit power that could be placed on a patient to neutralize the source of their problems. Others were made by or for ordinary people as talismans for good luck and the materialization of dreams. This small example appears to have been made from antler, the carver taking advantage of the natural curves and points of the material. Abalone shell inlays catch the light and enhance the appearance of the pendant. It has been suggested (in Wardwell, Tangible Visions) that the face at the top is the abbreviated head of a bear, a frequently seen shamanic image.
Steven C. Brown
References: For a section on amulets, see Allen Wardwell, Tangible Visions: Northwest Coast Indian Shamanism and its Art, (New York: The Monacelli Press, 1996), p. 165-194.
Amulet, c. 1840-60
antler and abalone, 3 x 2.75 x 0.5 in (7.6 x 7 x 1.3 cm)
unsigned.
Provenance
The Allen and Sally Wardwell Collection, New York, NY;
A New York Collection.
Published: Allen Wardwell, Tangible Visions: Northwest Coast Indian Shamanism and its Art, (New York: The Monacelli Press, 1996), no. 82, p. 105.Amulets were made in a wide variety of shapes and sizes on the Northwest Coast, some for the use of shamans, who saw them as receptacles of spirit power that could be placed on a patient to neutralize the source of their problems. Others were made by or for ordinary people as talismans for good luck and the materialization of dreams. This small example appears to have been made from antler, the carver taking advantage of the natural curves and points of the material. Abalone shell inlays catch the light and enhance the appearance of the pendant. It has been suggested (in Wardwell, Tangible Visions) that the face at the top is the abbreviated head of a bear, a frequently seen shamanic image.
Steven C. Brown
References: For a section on amulets, see Allen Wardwell, Tangible Visions: Northwest Coast Indian Shamanism and its Art, (New York: The Monacelli Press, 1996), p. 165-194.
Condition
The absence of condition does not imply that an item is free from defects, nor does a reference to particular defects imply the absence of any others. Our team can provide thorough and comprehensive condition reports and additional images. We welcome your enquiries at info@firstarts.ca or 647-286-5012.
NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.
NOTE
Many countries prohibit or restrict importation or exportation of property containing ivory, whale bone, sealskin, and/or products derived from other endangered or protected species, and require special licenses or permits in order to import or export such property. It is the responsibility of the buyer to ensure that the item is properly and lawfully exported / imported.
Buyer's Premium
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UNIDENTIFIED TLINGIT ARTIST, Amulet, c. 1840-60
Estimate CA$3,000 - CA$5,000
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