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Similar in sculptural concept to the historic Kwakwaka`wakw style of central coast sculpture, this face is of a half-cylindrical principal form (Holm, 1972b). The hollow below the eyebrow completely encircles the bulging orb of the eye, in contrast with the Nuu-chah-nulth or Salish styles of face carving. The eye bulge here can be described as a very shallow truncated cone with the sight-hole of the eye drilled through its flat peak. The soft, rounded junctures between the cheeks, nostrils, and the upper lip and chin areas are indications of a more northern, possibly Haihais or Haisla influence, commonly seen in Heiltsuk work. Along with other aspects of the artist's style, these characteristics connect this carving with others of the Heiltsuk region (see Holm, 1983c, p. 41, fig. 2:21; RBCM #72).
Nuxalk artistic influence is also apparent in this mask, and perhaps its origin was in Kwatna or Kimsquit village, both of which are said to have had mixed Heiltsuk/Nuxalk populations in the 19th century. Some groups of the Heiltsuk had close association with the Nuxalk, who lived in remote villages situated at the ends of the long inlets that open seaward into Milbanke Sound in the Heiltsuk territory. In particular, Kimsquit, at the end of Dean Channel, and Kwatna, in the inlet of the same name, were villages where the Heiltsuk and Nuxalk lived in common with one another and intermarried frequently, to the extent that the settlements were bilingual (Hilton 1990, p. 314). Nuxalk artistic influence is readily apparent in this mask, and perhaps its origin was in either Kwatna or Kimsquit village. The eyelid lines are not carved in relief, but merely defined by the painted edge of the eyesocket's blue color. The painted-only eyelid on a truncated-cone orb is most common in Nuxalk sculpture, as is the small crease where the eyesocket meets the temple area. The flatness of the eye-orb cone here, though, is perhaps the strongest connection to Heiltsuk sculptures for which the artist's identity is known (c.f. Holm 1983c, pp. 41, 42, fig. 2:22). The narrow bridge of the wide nose and its highly flared nostrils separate this from most Nuxalk carving, and the very northern-formline character to the red U-forms of the surface paintings suggest a Heiltsuk rather than Nuxalk sense of sculpture embellishment. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
Exhibition History"The 45th Annual Winter Antique Show," New York, NY, January 12, 1999 – January 25, 1999.
Art Des Indiens D'Amerique Du Nord Dans La Collection D'Eugene Thaw, Mona Bismarck Foundation, Paris, France, Somogy Editions D'Art, January 21, 2000 - March 18, 2000.
ProvenanceHarry B. Hawthorne, Vancouver, British Columbia; George Terasaki, New York City
BibliographyVincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.70.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.326.
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. 349.
Culture
Heiltsuk (Bella Bella)
Moon Mask
Date1880-1900
DimensionsOverall: 13 3/4 × 12 1/4 × 6 in. (34.9 × 31.1 × 15.2 cm)
Object numberT0164
Credit LineLoan from the Eugene V. and Clare E. Thaw Charitable Trust
Photograph by John Bigelow Taylor, NYC
Label TextThe sculptural style of the north-central coast is evident in the composition of the human face that forms the focal point of this corona-rimmed mask. Such a painted corona has often been associated with masks identified as either the sun or moon, and the attributes of this image combine to suggest the moon is the intended representation, although no documentation of this portrayal exists. The crescent shape of the wide rim (created by the eccentric placement of the face), along with its dark blue-painted radial lobes of solid U-shapes, implies the kinds of characteristics one would intuitively associate with a moon image.Similar in sculptural concept to the historic Kwakwaka`wakw style of central coast sculpture, this face is of a half-cylindrical principal form (Holm, 1972b). The hollow below the eyebrow completely encircles the bulging orb of the eye, in contrast with the Nuu-chah-nulth or Salish styles of face carving. The eye bulge here can be described as a very shallow truncated cone with the sight-hole of the eye drilled through its flat peak. The soft, rounded junctures between the cheeks, nostrils, and the upper lip and chin areas are indications of a more northern, possibly Haihais or Haisla influence, commonly seen in Heiltsuk work. Along with other aspects of the artist's style, these characteristics connect this carving with others of the Heiltsuk region (see Holm, 1983c, p. 41, fig. 2:21; RBCM #72).
Nuxalk artistic influence is also apparent in this mask, and perhaps its origin was in Kwatna or Kimsquit village, both of which are said to have had mixed Heiltsuk/Nuxalk populations in the 19th century. Some groups of the Heiltsuk had close association with the Nuxalk, who lived in remote villages situated at the ends of the long inlets that open seaward into Milbanke Sound in the Heiltsuk territory. In particular, Kimsquit, at the end of Dean Channel, and Kwatna, in the inlet of the same name, were villages where the Heiltsuk and Nuxalk lived in common with one another and intermarried frequently, to the extent that the settlements were bilingual (Hilton 1990, p. 314). Nuxalk artistic influence is readily apparent in this mask, and perhaps its origin was in either Kwatna or Kimsquit village. The eyelid lines are not carved in relief, but merely defined by the painted edge of the eyesocket's blue color. The painted-only eyelid on a truncated-cone orb is most common in Nuxalk sculpture, as is the small crease where the eyesocket meets the temple area. The flatness of the eye-orb cone here, though, is perhaps the strongest connection to Heiltsuk sculptures for which the artist's identity is known (c.f. Holm 1983c, pp. 41, 42, fig. 2:22). The narrow bridge of the wide nose and its highly flared nostrils separate this from most Nuxalk carving, and the very northern-formline character to the red U-forms of the surface paintings suggest a Heiltsuk rather than Nuxalk sense of sculpture embellishment. (From the Catalog of the Thaw Collection of American Indian Art, 2nd ed.)
Exhibition History"The 45th Annual Winter Antique Show," New York, NY, January 12, 1999 – January 25, 1999.
Art Des Indiens D'Amerique Du Nord Dans La Collection D'Eugene Thaw, Mona Bismarck Foundation, Paris, France, Somogy Editions D'Art, January 21, 2000 - March 18, 2000.
ProvenanceHarry B. Hawthorne, Vancouver, British Columbia; George Terasaki, New York City
BibliographyVincent, Gilbert T. Masterpieces of American Indian Art. New York: Harry Abrams, 1995, p.70.
Vincent, Gilbert et al. Art of the North American Indians: The Thaw Collection. Cooperstown, New York: Fenimore Art Museum, 2000, p.326.
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. 349.
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