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Suspension Hook, Samban , C-14 dating: 1450–1650 (95.4 % probability)
Wood, shell, fiber
39 3/8 x 27 3/16 x 3 9/16 in.
Gift of Marcia and John Friede in honor of Diane B. Wilsey and Harry S. Parker III 2007.44.38

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Artist Biography: (none) PROVENANCE: "Walter Randel Collection, New York." (Catalog #233, New Guinea Art: Masterpieces from the Jolika Collection of Marcia and John Friede, 2005, Volume 2, p. 119.) EXHIBITIONS: 2005 - New Guinea Art. Masterpieces from the Jolika Collection of Marcia and John Friede. De Young Museum, San Francisco, 2005. 1979 - National Gallery of Art, Washington, D.C., 1979, "The Art of the Pacific Islands." PUBLICATIONS: 2009 FAM Bulletin entry (unabridged) - "The female ancestor standing at the top of this suspension hook is represented with scarification marks on her shoulders and a shell valuable around her neck. Birds and totemic figures surround her. John Friede and Douglas Newton have suggested that this configuration might represent the Sawos version of the Iatmul creator mother spirit Shotkaman-agwi, a being half-crocodile, half-human with her bird twins at her side. (1) (2) In another version the crocodile mother's children are of human, catfish and eagle character alike. (3) The Sawos live away from the main river. They exploit Sago palms and hunt for food in the forest and this is reflected in their cosmology. According to Markus Schindlbeck's informants, all animals and the water are sent to earth during the flooding season by Yambugunwoli, the Mun-woman who lives on a platform in the sky. At night she sends the animals to the humans who may then hunt them; during the day it is her brother, Sun-Man, who sends the souls of humans who might be killed by warriors. (4) “Yambugunwoli dies when, with her hands, holding fast to and thus stopping the strong, but wandering Sago-man; she is devoured by his thorns while he grows roots and therefore stays as the original sago palm in Sawos country.” (5) The unique iconography of this sculpture referring to a world with an upper realm, where the woman stands, and a lower realm with human-like beings, suggests that such an interpretation, while speculative, remains plausible. Sawos reside north of the great Sepik River and have a rich tradition of woodcarving and mask-making. Historically, Sawos dwellings did not include closets or containers for valuables to be stored. So, hooks were used to keep net bags filled with food and other belongings off the palm wood floor and out of reach from rodents and insects. Hooks representing important ancestor spirits, often with individual names, were kept in clan houses or ceremonial houses. The cane loop on the back of the ancestor figure's head was used to suspend it from the roof of the house. Bags could contain shell valuables and other objects to be protected, food for the men assembling in a ceremonial house, or food offerings for the spirit. (6) Hooks were clan property and specific hooks were consulted before hunting and warfare. (7) In this context, some hooks served as support for communication with ancestors such as helping to determine the outcome of a future action. (8)" FOOTNOTES (1) Kaeppler, A., Kaufmann, C. and Newton, D., Oceanic art, 1997, ills. 226 and 227, see Wirz 1959. (2) Kaeppler, A., Kaufmann, C. and Newton, D., Oceanic art, 1997, ills. 226 and 227, see Wirz 1959. (3) Kaufmann, C. cat. Nos. 32 and 44, 39 In Peltier, Philippe and Morin, Floriane (eds.), Shadows of New Guinea, Paris 2006, pp. 405-409, cf. fig. 22.52, Openwork carving in Gathercole, P., Kaeppler, A. and Newton, D. (eds.), The art of the Pacific Islands, Washington D.C. 1979, p. 325. (4) Schindlbeck, Markus, Sago bei den Sawos. Basler Beiträge zur Ethnologie 19, 1980, pp. 129-130, 348 (5) Schindlbeck, Markus, op.cit. 360-363. (6) Dirk Smidt. The Seized Collections of the Papua New Guinea Museum (Papua New Guinea: Creative Arts Centre, 1977), 64. (7) Smidt, 64; Schindlbeck Hunting magic. (8) Buhler, Alfred. Art of Oceania: A Descriptive Catalogue by Alfred Buhler. (Zurich: Museum Rietberg, 1969) 120. 2005 - "The female figure probably represents the Sawos version of the creator mother spirit Shotkaman-Agwi. (See pl. 150.) The two curved hornbills at her sides would represent her Gandju-bird twins and the sinuous forms below, her crocodile/snake child. Davis & Davis, 1974: 29, fig. 31, presents an analysis which suggests that the three small figures at the bottom may be yams or other phallic symbols representing Betman-Gambi, who was resurrected by and became the husband of Shotkaman-Agwi. The objects customarily suspended from cult hooks would have been shell valuables, funerary artifacts, and other ritual items. The rigid attitude of the figure is typical of Sawos sculpture (Newton, 1979: 324). See next object [pl. 234]." (Catalog #233, New Guinea Art: Masterpieces from the Jolika Collection of Marcia and John Friede, 2005, Volume 2, p. 119.)

Related Keywords
Samban Hook Suspension III Parker S Harry Wilsey B Diane honor Gift 119 p 2 Volume 2005 Friede John Marcia Jolika Masterpieces Art 233 Catalog York Randel Walter people Sawos Oceania Province Sepik East Guinea New Sculpture smoke soot accumulation use coating surface thick developed object hanging top loop also wrists bracelets fiber eyes inlays shell wood piece one Carved 0709200406050618 A361049 2007.44.38 AOA