Description:

Tatau, Tabar Islands, New Ireland. Vanis type Malagan helmet mask, of complex and dynamic construction. The mask is flanked by wing-like superstructures, each enclosing an openwork "drongo" bird with elongated, finely detailed tail feathers, above winged fish forms below. The entire composition is framed by a tall, arching feathered bamboo strip, the head is rendered with coarse fiber, the eye openings fitted with shell opercula, and the parted mouth with painted teeth, a protruding tongue, and lobed extensions that curve down toward the chin. A paddle-form finial rises from the crown, a reference to canoe travel and maritime identity. The surface is richly painted with intricate geometric and curvilinear motifs in red, black, yellow, and white. Jagged crest extensions at the top of the head show old repairs, with minor losses. Such masks were conceived as powerful spiritual containers, harnessed by its wearer during the length of the traditional 'Tatanua' dance, which is carried out towards the end of the Malagan ceremony. Webb's New Zealand wrote, Edward Salle is considered by his peers as the greatest living Malagan carver. He was born into the heart of Malagan culture in Lava Village on Tatau Island, part of the Tabar Islands of New Ireland. Over the years, Edward Salle has become a major force within the traditional culture of New Ireland, reinforcing and, in some cases, re-establishing the Malagan ceremonies. After World War II, this tradition was almost lost. Due to Edward and a few other dedicated artists, it has enjoyed a remarkable revival. Edward Salle's work can be found in many major international collections, including theTjibaou Cultural Centre in New Caledonia, National Gallery of Victoria, and Liverpool Museum. Size: 38"x18" (96.5x46cm)

Provenance: Private NYC. collection; ex. Alcheringa Gallery, Victoria, B.C., 1993. Collected from Tabar Islands, 1992. Accompanied by receipt and image of Mr. Salle with this mask.

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#70402

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February 26, 2026 7:00 AM MST
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