Flute Mask
Murik Lakes region, Papua New Guinea
19th-early 20th c.
Provenance: Otto Stam, (1913-1983), Utrecht. By descent to his son Serge Stam. Andre and Lita De Bock, Amsterdam
This exquisite small mask was attached to a sacred flute to enhance its potency. It embodies the characteristics of an early, classical style, featuring a pierced septum and ears. Its facial attributes are especially striking, projecting a subdued yet powerful intensity. Meticulously crafted, the mask boasts an elongated nose adorned with a finely carved nasal ornament, deeply set oval eyes, and a slightly parted mouth framed by intricately carved clan designs that further amplify its presence. The mask’s border is meticulously carved with serrated detailing, resembling a beard. On the forehead, a totemic animal spirit is skillfully carved.
Most of the original red ochre pigment still remains, defining and intensifying its expressiveness. Adding to its allure, a strand of braided human hair is attached through the piercing at the top of the mask. On the reverse side of the mask, delicate markings, likely from a seashell, are visible, and faint traces of an unidentified old inventory number, painted in white, can still be discerned.
Otto Stam
Flute Mask
Murik Lakes region, Papua New Guinea
19th-early 20th c.
Provenance: Otto Stam, (1913-1983), Utrecht. By descent to his son Serge Stam. Andre and Lita De Bock, Amsterdam
This exquisite small mask was attached to a sacred flute to enhance its potency. It embodies the characteristics of an early, classical style, featuring a pierced septum and ears. Its facial attributes are especially striking, projecting a subdued yet powerful intensity. Meticulously crafted, the mask boasts an elongated nose adorned with a finely carved nasal ornament, deeply set oval eyes, and a slightly parted mouth framed by intricately carved clan designs that further amplify its presence. The mask’s border is meticulously carved with serrated detailing, resembling a beard. On the forehead, a totemic animal spirit is skillfully carved.
Most of the original red ochre pigment still remains, defining and intensifying its expressiveness. Adding to its allure, a strand of braided human hair is attached through the piercing at the top of the mask. On the reverse side of the mask, delicate markings, likely from a seashell, are visible, and faint traces of an unidentified old inventory number, painted in white, can still be discerned.
Otto Stam