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Archaically-styled features combine in this object to convey the feeling of great antiquity. The design and the inlay of the border rim both display a direct visual connection to the character of objects collected in the late 18th century by James Cook, who anchored and traded near the village of Yuquot on his third voyage of discovery. The comb also bears a certain affinity to the objects that have been excavated from the Ozette village site on the Washington coast, which have been dated at 300-500 years old (c.f. Daugherty and Kirk 1978, p.186). Highly-esteemed objects from that period are often inlaid with either small shells, such as the red turban snail opercula, or teeth, frequently the cuspids and molars of sea otters. The original inlays in this comb appear to be small, round teeth from an unknown animal. Many have been replaced with a facsimile. The curling, corner-finial images resemble playful whale heads, for which the end inlays function perfectly as eyes. The sweeping parallel lines that connect these heads seem to suggest the similar grooves on the throat and ventral surface of a humpback whale, and may also have provided a more secure grip during use. A very similar comb has been illustrated with the Hooper collection (c.f. Phelps, 1975 p.323, fig. 1545), said to have been collected by Cook and now in the Banks collection, British Museum.
The very engaging faces on each side of the comb illustrate the sensitively-masterful handling of a stylized, low-relief human or spirit face. The proportions and essential design of these faces conform to the general southern-coastal style of sculpture, and yet the precise and subtle modeling of each surface and form elevates these images above the simple geometry that is their understructure. The bulging forehead, softly rounded brow line, prominent cheekbones, and carefully modeled lips and chin all illustrate a quality of expressive naturalism. The precise clarity of the thin eyebrows and labial eyelids provides a focal point that helps to convey an incredible emotional power in each face. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
ProvenanceGeorge Terasaki, New York City
BibliographyMaurer, Evan M. The Native American Heritage: A Survey of North American Indian Art. Chicago: Art Institute of Chicago, 1977, p. 283, fig. 425.
Penney, David W. and George C. Longfish. Native American Art. New York: Hugh Lauter Levin Associates, Inc., 1994, p.212.
Vincent, Gilbert T. "The Eugene and Clare Thaw Collection of American Indian Art." The Magazine Antiques. Vol CXLVIII, no. 1, (July 1995): p.67, pl.X.
Vincent, Gilbert T. "The Eugene and Clare Thaw Collection of American Indian Art." The World of Tribal Arts, Vol.II, No.4, (Winter 1995-96): 36
Vincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.67 and back cover.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.317.
Maurer, Evan M. The Native American Heritage: A Survey of North American Indian Art. Chicago: Art Institute of Chicago, 1977, p. 283, fig. 425.
Fognell, Eva and Alexander Brier Marr, eds. Art of the North American Indians: The Thaw Collection at the Fenimore Art Museum, 2nd ed. Cooperstown, New York: Fenimore Art Museum, 2016, p. 334.
Culture
Nuu-chah-nulth (Nootka)
Comb
Datec. 1750-1820
DimensionsOverall: 9 1/2 × 4 7/8 × 1 5/8 in. (24.1 × 12.4 × 4.1 cm)
Object numberT0156
Credit LineLoan from the Eugene V. and Clare E. Thaw Charitable Trust
Photograph by John Bigelow Taylor, NYC
Label TextAlthough no specific documentation regarding the origin of this remarkable comb appears to exist, everything about its appearance suggests that it is from the late 18th or early 19th century. In form it is elegantly functional, nicely hand-sized and shaped so that it could be comfortably and securely held. The rounded edge between the upward sweeping corner-finials would naturally cradle the user's middle fingers, much in the fashion of a Native seal harpoon's end-grip. The carver chose the wood of a Sitka spruce for his material, which with its straight, even grain has often been mistaken for cedar. Denser and less brittle than red cedar, spruce is more likely to wear well without chipping or splintering.Archaically-styled features combine in this object to convey the feeling of great antiquity. The design and the inlay of the border rim both display a direct visual connection to the character of objects collected in the late 18th century by James Cook, who anchored and traded near the village of Yuquot on his third voyage of discovery. The comb also bears a certain affinity to the objects that have been excavated from the Ozette village site on the Washington coast, which have been dated at 300-500 years old (c.f. Daugherty and Kirk 1978, p.186). Highly-esteemed objects from that period are often inlaid with either small shells, such as the red turban snail opercula, or teeth, frequently the cuspids and molars of sea otters. The original inlays in this comb appear to be small, round teeth from an unknown animal. Many have been replaced with a facsimile. The curling, corner-finial images resemble playful whale heads, for which the end inlays function perfectly as eyes. The sweeping parallel lines that connect these heads seem to suggest the similar grooves on the throat and ventral surface of a humpback whale, and may also have provided a more secure grip during use. A very similar comb has been illustrated with the Hooper collection (c.f. Phelps, 1975 p.323, fig. 1545), said to have been collected by Cook and now in the Banks collection, British Museum.
The very engaging faces on each side of the comb illustrate the sensitively-masterful handling of a stylized, low-relief human or spirit face. The proportions and essential design of these faces conform to the general southern-coastal style of sculpture, and yet the precise and subtle modeling of each surface and form elevates these images above the simple geometry that is their understructure. The bulging forehead, softly rounded brow line, prominent cheekbones, and carefully modeled lips and chin all illustrate a quality of expressive naturalism. The precise clarity of the thin eyebrows and labial eyelids provides a focal point that helps to convey an incredible emotional power in each face. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
ProvenanceGeorge Terasaki, New York City
BibliographyMaurer, Evan M. The Native American Heritage: A Survey of North American Indian Art. Chicago: Art Institute of Chicago, 1977, p. 283, fig. 425.
Penney, David W. and George C. Longfish. Native American Art. New York: Hugh Lauter Levin Associates, Inc., 1994, p.212.
Vincent, Gilbert T. "The Eugene and Clare Thaw Collection of American Indian Art." The Magazine Antiques. Vol CXLVIII, no. 1, (July 1995): p.67, pl.X.
Vincent, Gilbert T. "The Eugene and Clare Thaw Collection of American Indian Art." The World of Tribal Arts, Vol.II, No.4, (Winter 1995-96): 36
Vincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.67 and back cover.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.317.
Maurer, Evan M. The Native American Heritage: A Survey of North American Indian Art. Chicago: Art Institute of Chicago, 1977, p. 283, fig. 425.
Fognell, Eva and Alexander Brier Marr, eds. Art of the North American Indians: The Thaw Collection at the Fenimore Art Museum, 2nd ed. Cooperstown, New York: Fenimore Art Museum, 2016, p. 334.
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