Pacific Arts
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Kanak New Caledonia
Roof spire probably 19th century Place made: New Caledonia Melanesia
Materials & Technique: sculptures, wood, black dye
Dimensions: height 310.0 h cm
Accession No: NGA 2010.1366
  • It was first brought to the attention of the west when it was photographed by the tribal art dealer Charles Ratton at the apartment of the collector and art dealer Antony Innocent Moris, on rue Victor-Massé, in Paris, just after the Second World War. Moris was one of the key figures in bringing an awareness of "primitive" art to a Western audience and was known for his discerning taste.
  • In 1976 Robert Burawoy, now a noted dealer in Japanese arms and armour, held an exhibition of Melanesian arts at his gallery in Paris, and published this spire on the cover of the catalogue "Mélanésie".
  • It passed into to the hands of Alain Schoffel, the well known collector of Oceanic and African arts living near Paris; and then into a private collection. [provenance derived from notes in Sotheby's catalogue - Sotheby's Paris 30 November 2010 (auction PF1028) Lot 69]
  • This roof spire was created to represent the face of an ancestral spirit and to stand for the community of departed spirits. When centrally placed on top of the house of the village chief, the spire represented the core of the village, its ancestral roots. The face in the centre of the spire is startling, a remarkable solution to the problem of producing an unforgettable image. Its head is flattened, extended laterally, with remarkably piercing eyes.

    Sweeping up from each side of the mouth is the black painted beard, bisected by a very long pointed tongue. Why the tongue? In other parts of the Pacific, images of beings were created with distinctively long tongues. One of these was an image created to placate an extremely hungry spirit, one that demanded sacrifice on a regular basis. If his people forgot to leave food out for him, or forgot to make the appropriate sacrifice, his anger was uncontainable and the crops would begin to fail.

    Did this spire represent such a spirit? At the time of its making in the early nineteenth century, ancestors held a strong position among the living. People understood that their ancestors demanded respect, and a beautifully constructed spire was one of the ways in which a chief could show his ancestors that he cared for them, that he loved them, and that they should love him and, by extension, love his people.

    Michael Gunn, Senior Curator, Pacific Arts

    Text © National Gallery of Australia, Canberra 2014
    From: Collection highlights: National Gallery of Australia, National Gallery of Australia, Canberra, 2014