Lot 267B
Latin America, Mexico, Guerrero, ca. mid-20th century CE. A commanding and expressive copper mask with a vividly painted red visage, green inset eyes, and a deeply modeled curling beard, presenting the unmistakable features of a Europeanized face framed by three floral motifs across the brow and an open mouth revealing four pronounced teeth, with crescent-shaped apertures beneath the almond eyes enhancing its theatrical presence. Hammered and worked in repousse, the surface displays a tactile richness, with stippled textures and layered patina lending depth to the hair and beard, while traces of pigment animate the features with a lively, almost confrontational intensity. The elongated nose, arched brows, and exaggerated lips contribute to a stylized physiognomy that feels both caricatured and deliberate, reflecting a hybrid visual language rather than a strictly indigenous form. Size: 8.9" W x 14.5" H (22.6 cm x 36.8 cm)
The verso retains a canvas cloth backing, a practical addition that would have cushioned the wearer and stabilized the thin metal structure during handling or display.
The identity of such masks has long been debated. Once misattributed to pre-Hispanic ritual use, particularly as representations of the Nahua rain deity Tlaloc, this interpretation has since been dismissed. As anthropologist Dr. Fernando Nava has clarified, traditional rain ceremonies did not employ metal masks of this type, nor did they depict deities with such distinctly European facial characteristics. Instead, the bearded face points to a post-contact imagination, shaped by centuries of cultural exchange and reinterpretation.
These masks became widely known through the writings of Donald Cordry, who termed them "Barbones" and associated them with rain-invoking dances in rural Guerrero. While evocative, such claims were often rooted in anecdotal local narratives rather than rigorous ethnographic evidence. In reality, examples such as this were produced in the mid-20th century by skilled artisans in Guerrero, continuing a regional tradition of metalwork that dates back to the 19th century, when mining towns like La Parota catered to foreign visitors seeking distinctive and ornate souvenirs. Today, Barbone masks stand as compelling artifacts of cultural synthesis - objects that blend indigenous craftsmanship, colonial visual influence, and modern market demand into a single, arresting form.
Provenance: private collection of S. Saunders, Nogales Arizona, USA collection
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#201729
- Condition: Some small perforations, as well as nicks, abrasions, and light bending as shown. Otherwise, very nice presentation with good pigments and rich patina.
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