ERIC HERTAULT
A collector and tribal art enthusiast since adolescence, Eric Hertault learned the trade of art dealing from an exceptional mentor, Philippe Ratton, for whom he has worked these last four years and thanks to whom he has undertaken this career advancement. Equipped with this experience, he settled in the spring 2017 in 3 Rue Visconti, an area conceived as a place for exchanges and meetings. He now wishes to offer his professional services and share his particular predilection for the works of West Africa, and especially Côte d’Ivoire, with tribal art collectors from around the world. 3 rue Visconti - 75006 Paris - France Mobile : ++33 6 15 38 64 81 Email : hertault.eric@gmail.com Web : www.eric-hertault.com
INTERVIEW
Mask YaourĂŠ, Ivory Coast Wood, nails, resto of colors, patina of use and an old restoration. Height: 43 cm Field collected in 1911 by Henri de Bazelaire de Rupierre By descendant Private collection, Paris WHEN WAS YOUR FIRST ENCOUNTER WITH TRIBAL ART? WAS IT IN A MUSEUM OR IN A GALLERY? WHAT TRIBAL ART OBJECT ATTRACTED YOU FIRST? Growing up in the Midwest of the United States, I was first exposed to tribal art at The Field Museum in Chicago. In my early 20s, I lived in Guinea-Bissau for two years, working as a teacher in the Peace Corps. I owned a sea-faring canoe, and travelled around the Bijagos Islands on that boat. I saw initiation ceremonies on the islands, including masks and traditional dance. Those early experiences on the Bijagos Islands got me hooked on remote travel. As I was leaving West Africa, I spent two months in Morocco. At the tail end of my stay I had the classic experience of going into a rug shop in Fez. I had no intention of buying anything, but wound up spending all my money on two rugs. That money was supposed to get me home. I had to sell my camera in Malaga to raise funds for my airfare back to the US. HOW DID YOU BEGIN SELLING TRIBAL ART? I fell in love with Morocco, and I went back and started to buy jewelry because it was portable. At this point, I discovered the thriving flea market in Santa Fe, New Mexico, and I made Santa Fe my home in 1995. As I was spending my winters in Morocco, I decided to ship containers of vintage pottery, textiles and other decorative objects to Santa Fe during the flea market during the Summer. After five years, I stopped doing the flea market and started to travel in Asia. Initially I was buying jewelry, and gradually my inventory expanded to include tribal art of Southeast Asia. Around 2000, areas in Southwest China were opening up to foreigners, and interesting objects were coming out. I was buying masks, textiles and objects from Yunnan, Sichuan and Hainan. It was one of the few unexploited areas of the world for discovering material culture WHEN DID YOU DECIDE TO BECOME A DEALER. DID YOU HAVE A MENTOR? I was basically self-taught, particularly in the early days of dealing. My education began in the flea-markets, and these were unruly places, and as my career developed, I did seek out mentors. I would say that Jim Willis was a good friend to me, and someone I looked to for wisdom. Tad Dale is esoteric and eclectic in his interests, and he was the premier tribal art dealer in Santa Fe, and I paid attention to his esoteric inventory in my youth.
Kpélié Double Face mask Senufo, Ivory Coast Wood and patina of use Height: 27 cm Provennace: Josef Muller, Solothum, Switzerland Edith Hafter, Solothom, Switzerland Private collection, 1988, SWaitzerland Dalton Somaré, Milano, Italy Ratton Gallery, Paris Catherine Sargos collection, Paris Publcations: “Die kunst der Senufo aus Scheizer Sammlungen” by Till Forseter and Lorenz Homberger 1988, p.40 fig.23 “Masks” by Dalton Somaré, 2012, p.35 fig.35 “49 csultures de Côte d’Ivoire” Galerie Ratton, Paris, France, p.26 fig.23 “Senufo sans frontière” La dynamique des arts et des identités en Afrique de l’Ouest. The Cleveland Museum of Arts/5 Continents 2014, p.157 fig.108 Exhibitions: Rietberg Museum, “Die kunst der Senufo”, 1988, Switzerland Dalton Somare, “Masks”, 2012, Paris Galerie Ratton, 49 sculptures de Côtes d’Ivoires”, 2014, Paris Cleveland Museum, 2015, Unsited States Saint-Louis Art Museum, 2015, Unisted States Musée Fabre 2015/2016, Montpellier, France
I think few people have embarked on this adventure because there is no many objects on the market. In addition to being unprecedented, this exhibition makes sense to me. The formal perfection of Yaouré fascinates me. It represents to me the quintessence of what attracts me the most in African art, the accomplishment of my aesthetic approach and my look. WHICH SHOWS ARE YOU PARTICIPATING IN? For the moment, I participated in the last two “Parcours des Mondes” as well as the two “Paris Tribal”. I am currently working to participate in “Bruneaf ” in January in Brussels. DO YOU THINK THAT THE MARKET WILL BE STRUCTURED MORE AND MORE THANKS TO NEW DIFUSION METHODS? All new information is essential for the evolution of our knowledge and those of collectors on the real value of objects. This will allow us, too, to fight counterfeits effectively and stopped the fake market. WHAT ARE THE BIGGEST EXHIBITIONS FOR YOU? Through reading the work of my friends Charles Wesley Hourdé and Nicolas Roland, the exhibition of the Pigalle gallery was extraordinary, and much closer “Forests Natales” at the Quai Branly museum was a incredible meeting of exceptional richness. LAST QUESTION, IF THERE WAS FIRE AT HOME, WHAT IS THE FIRST THING YOU WOULD SAVE? After my partner, most certainly my soul. ;-)
Figure Senufo, Ivory Coast Wood and very old patina of use height: 32 cm Provenance: Lauritz Sunde (Circa 1950), Copenhague, Denmark Otto Eilersen, collection 1950, Copenhague, Denmark Anita and Jan Lundberg, collection 1980, Malmö, Sweden Didier Claes gallery, Brussels Private collection, Paris Exhibition: Malmö Konsthall, 1986, “AFRIKANST”, Sweden Publication: AFRIKANST, Malmö Konsthall, 1986, P. 34-35 N°29
SALE
TAS is a group of international dealers widely acknowledge for their expertise, which since June 2011 sells tribal art through a website. TAS Membership is by invitation only and reserved exclusively to experts in their field and who participate in major tribal art events and fairs. Pieces are published and changed at the beginning of every month. The objects are presented from different angles with a full description and corresponding dealer’s contact information. In order to guarantee the quality of pieces available on the site, objects are systematically validated by a pool of experts from the best specialized companies in the field. Collectors are therefore encouraged to decide and buy with complete confidence. In addition to this, Tribal Art Society proposes a seven day full money back return scheme should the buyer not feel totally satisfied with his purchase. This website is regularly updated with press articles, interviews and news of each of its members in order to keep amateurs well-informed and further contribute to their understanding and appreciation of tribal art More on: www.tribalartsociety.com
DOGON FIGURE
01 Ritual figure Dogon Mali wood, sacrificial patina Height: 36 cm Provenance: private collection (70’s) Price: 3.000 euros
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
BAMBARA STAFF FINIAL
02 Staff finial Bambara Mali wood Height: 20,5 cm Price: SOLD
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
SENUFO FIGURE
03 Deble figure Senufo Mali Wood; pigments Height: 116 cm Provenance: Jay C. Leff, Uniontown, USA Private collection, USA, acquired in 1967 Published in: Exotic Art from Ancient and Primitive Civilizations, Collection of Jay C. Leff, Carnegie Institute, Pittsburgh, Pennsylvania, 1959, No. 224 Parke-Bernet Galleries, African Art from the Collection of Jay C. Leff, New York, 22. April 1967, lot. 32 Price on request
Object presented by: Patrik, Katrin et Theodor Frรถhlich T.: + 41 44 242 89 00 E.: patrikfroehlich@swissonline.ch
LOBI FETISH
04 Fetish Lobi Burkina Faso 20th Century. Hard wood. with light patina Height: 41 cm Provenance: Old Donald Tait collection, Paris Price: 1.400 euros
Object presented by: Laurent Dodier M.: + 33 6 08 22 68 15 E.: laurentdodier@wanadoo.fr
Male fetish depicted standing, naked, flat breasts, prominent belly button and marked sex. The arms hang down the body. He is wearing a cap wrapping his head completely. The tip of the right foot is missing.
DAN MASK
05 Mask Dan Ivory Coast Wood and fiber Height : 24 cm Provenance: Private European collection Price: 8.750 euros
Object presented by: Eric Hertault M.: +33 6 15 38 64 81 E.: hertault.eric@gmail.com
BAULE MASK
06 Mask kpan kple Baule Ivory Coast Wood, polychromy Height: 39,5 cm Provenance: Sydney et Gae Berman, New York, acquired in the 1970s - 1980s Price : 9.000 euros
Object presented by: Charles-Wesley Hourdé T.: +33 (0)1 42 01 69 82 E.: info@charleswesleyhourde.com
Belonging to the masks associated to the goli society, kpan kple is only invoked in extraordinary circumstances and is considered by villagers as one of the most beautiful masks of the goli cult (Boyer, Arts de la Côte d’Ivoire dans les collections du Musée Barbier-Mueller. Catalogue., t. II, 1993, p. 125, n° 210). As it expresses elegantly a Baule aesthetic ideal, the present kpan kple mask offers, in its anthropomorphic part, all the traits of Baule beauty. Lined with a serrated clipped beard, the finely designed ovale face is adorned with traditional scarifications, under temples and on the cheeks. This mask’s polychromy, red with a matte finish, offers a striking contrast of texture with the bare surface of the collar. The little caprine horns evoke “force, fecundity and fertility pervaded by the cult within the entire religious existence of the Baule cultivator (Ibidem)”.
BAULE SCULPTURE
07 Sculpture Sika Blawa Baule Ivory Coast Wood and gold leaf Heigth: 24cm Provenance: Collection particular, Spain Price: SOLD
Object presented by: David Serra T.: +34 (0) 667525597 E.: galeria@davidserra.es
BAULE FIGURE
08 Figure Baule Ivory coast wood, pigments and patina of use Height: 39 cm Provenance: Private collection, Paris Price: 2.750 euros
Object presented by: Eric Hertault M.: +33 6 15 38 64 81 E.: hertault.eric@gmail.com
BAOULE FIGURE
09 ritual figure BaoulĂŠ Ivory coast wood.Beads Height: 27 cm Provennance: French private collection Price: SOLD
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
BAULE SPOON
10 Spoon Baule Ivory coast Wood and patina of use Height: 19,5 cm Provenance: Private collection, Paris Price: 2.890 euros
Object presented by: Eric Hertault M.: +33 6 15 38 64 81 E.: hertault.eric@gmail.com
DAN SPOON
11 Ceremonial spoon Dan Ivory coast. Wood Height: 43,5 cm Provenance: Private collection (60’s) Price: SOLD
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
BAOULE KNIFE
12 Knife Baoule Ivory coast Wood.Metal.Shells.Leather Height: 43 cm Price: SOLD
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
ASHANTI DOLL
13 Fertility doll Ashanti. Ghana wood.Beads Height: 27 cm Price: SOLD
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
MUMUYE FIGURE
14 Figure Mumuye Nigeria Carved wood, red pigments Early 20th Century Height: 58 cm Provenance: Private collection, Paris Price on request
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
The Mumuye live in the foothills of the Shebshi Mountains near the banks of the Benue in eastern Nigeria. This agrarian people is comprised of three different dialectal groups, and was long unknown to Westerners, who discovered their art only in the late 1960s. The Mumuye used sculptures called Iagalagana in different rituals: the figures played a central role in ancestor worship and in curing ceremonies. They served as intercessors between the spirit world and that of men and served as proof of the high status of the family that owned them.
YORUBA “SHANGO”
15 Dance wand figure, Ose Shango Yoruba Nigeria Wood First third of 20th Century. Height : 43 cm Provenance : Ex. Ernst Anspach Private US collection Price on request
Object presented by: Dori Rootenberg M.: +1 646 251 8528 E.: dori@jacarandatribal.com
The Yoruba religious world recognizes a pantheon of deities called orisha, whose identities and attributes are embodied in ritual objects. Priests and adherents of the widespread cult of Shango, the fiery god of thunder and lightning, commission dance staffs (ose Shango) to invoke his striking power and protection. This figure, with surfaces and features thoroughly smoothed with age and use, represents a female devotee of Shango. The dramatic double axe form atop the figure’s head is the primary symbol associated with Shango, reflecting the power of the violent storm and his ability to hurl thunder celts into the community. The figure wears a lip plug, the practice of which began to decline in the late 19th century, indicating this is an early object.
YORUBA “IBEDJI”
16 Ibedji Yoruba Nigeria 20th Century. Wood, with patina of use Height: 28,3 cm Price: 1.100 euros
Object presented by: Laurent Dodier M.: + 33 6 08 22 68 15 E.: laurentdodier@wanadoo.fr
Male statuette. The body is realistic. The hands are placed on the upper thighs. She wears an anklet, a belt, and a pearl necklace around her neck. Scarifications adorn the cheeks and belly. the “Ibedji” statuettes represent twins, considered among the Yoruba as endowed with supernatural powers beneficial for their family. When one of the twins dies, we make a statuette representing him; the “Ibedji” figurine is the receptacle of the soul of the dead twin and is given the same care as his living brother: fed, washed, and coated with cam powder that leaves a thick ocher to red patina. In the same way, when both twins die, it is necessary to make two statuettes so that their spirits can bring benefits and prosperity to their family. The “Ibedji” are still represented as adults and there are many variants depending on the region and the production workshop.
“MU’PO” FIGURE
17 Mu’po Figure Grassland (Bamileke?), Cameroon Carved wood First part of the 20th Century Height: 11 cm Provenance: Joaquin Pecci, Brussels Price: 2.500 euros
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
Mu’po figures were used by the Bamun and Bamileke peoples (Grassland, Cameroon) for therapeutical and divination purposes. They served various functions: they were part of Ku’n’gan masquerades, played the role of hunting charms, here hung on the warriors’ belts to divert the enemy, placed in the fields to protect the crops or used by pregnant women for fertility... According to Pierre Harter (Arts anciens du Cameroun, 1986, p. 269), “the position of the hands can vary from one statuette to another, each gesture symbolizing a topic. When hands are on the clavicles or shoulders, they ward off evil spells.”
ETHIOPIAN SABER SANDLE
18 Saber handle Beshangul Ethiopia Wood Around 20th Century Heigth: 10 cm Provenance: Private Collection, France Price: 800 euros
Object presented by: David Serra T.: +34 (0) 667525597 E.: galeria@davidserra.es
FANG ARM MASK
19 Medseng arm mask Fang Equatorial Guinea Wood Around first half of 20th Century Heigth: 13,7 cm Provenance: Collection R. Villalobos, Granada (teacher in Equatorial Guinea from the late 60’s to the mid 70’s). Price on request Object presented by: David Serra T.: +34 (0) 667525597 E.: galeria@davidserra.es
KOTA RELIQUARY
20 Obamba reliquary Kota Upper region of OgoouĂŠ, Gabon First half of 20th Century Thick soul of wood plated with leaves and strips of decorated copper and brass Height.: 54 cm Provenance: Former collection Marcel Bessy, magistrate stationed in Equatorial and West French Africa between 1947 and 1958. Collected in situ in the late 1940s Price: 7.500 euros Object presented by: Laurent Dodier M.: + 33 6 08 22 68 15 E.: laurentdodier@wanadoo.fr
The concave face, almond, is divided into four quarters. On the two brass bands intersecting in the middle of the face are stapled half-moon eyes and a triangular nose. The mouth is marked. The side parts end in curved quilts in duck tail. The neck is copper plated and the upper parts of the diamond-shaped are plated with copper. The crescent is classic, underlined by a decorated band. At the back, a diamond-shaped sculpture. These kinds of portable tombs were exhibited on many occasions: during the initiation of the youth, the families of the clan gathered together bringing their reliquaries. In other circumstances, the cult of the clan chief was to promote the fertility of women and the fertility of the land, or to make hunting and fishing abundant, or to contribute to therapeutic care.
TUTSI CONTAINER
21 Container Ganda or Tutsi Uganda H. 25 cm Wood, cotton textiles Heigth: 25 cm Provenance: Private Collection, Spain. Price: 900 euros
Object presented by: David Serra T.: +34 (0) 667525597 E.: galeria@davidserra.es
YAKA MASK
22 Mask Yaka D.R. of Congo Wood, raffia and pigments 19th Century or earlier Height: 48 cm Provenance: Private collection, France, before 1970 Price on request
Object presented by: Didier Claes M.: +32 4 77 66 02 06 E.: afriquepremier@yahoo.fr
YAKA MASK
23 Mask Yaka D.R. of Congo Wood, raffia and pigments 19th Century or earlier Height: 50 cm Provenance: Private collection, Belgium Price on request
Object presented by: Didier Claes M.: +32 4 77 66 02 06 E.: afriquepremier@yahoo.fr
MANGBETU VESSEL
24 Terra-cotta Vessel Mangbetu D.R. of the Congo Height: 28 cm Provenance: Jacques and Denise Schwob, Brussels By descent Price : 4.500 euros
Object presented by: Charles-Wesley HourdĂŠ T.: +33 (0)1 42 01 69 82 E.: info@charleswesleyhourde.com
Within Mangbetu arts, anthropomorphic patterns evidence a particular refinement. The top of this elegant terra-cotta vessel is sculpted in the shape of a beautiful woman’s head, delicately molded and punctuated with lined scarifications. The widely open coiffure lengthening her head - underlining the traditional cranial deformation practiced by Mangbetu people - used to be worn by the most noble women.
MONGO SOON
25 Spoon Mongo D.R. of Congo Wood Late 19th early 20th Century Height: 56 cm Provenance: Ex. Private US collection Price on request
Object presented by: Dori Rootenberg M.: +1 646 251 8528 E.: dori@jacarandatribal.com
Prestige spoons are an artistic convention across Africa, and not least in the Congo, where this magnificent Mongo example was carved. With long, gently swelling flanks, a slightly wedge-shaped handle, and its concave, double-pointed tip, this spoon’s form can be read as that of an abstract fish. The handle, pierced with a suspension hole, is decorated with a design of brass tacks that provide a brilliant highlight to the lustrous, dark patina of the wood.
NEPAL MASK
26 Primitive mask Nepal Wood, resin, leather strap and nails Circa 18th century Height: 27 cm Price on request
Object presented by: FrĂŠdĂŠric Rond M.: +33 (0)142775848 E.: indian.heritage@yahoo.fr
SHAN KNIFE
27 knife Shan. Burma Ivory.european blade Height: 27,5 cm Price: 1.000 euros
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
SUMATRA “KERIS”
28 Keris Bugis Sumatra, Indonesia. Keris, Blade 5 luks Pamor Wos wutah (scattered rice grains) Warangka (sheath) Bugis two tones of brown wood. Silver mendak and a two materials handle horn and wood. 18th- 19th Century Height: 30 cm Price: 1.200 euros
Object presented by: Cédric Le Dauphin M.: +33 6 07 82 95 08 E.: c.ledauphin@gmail.com
MADURA “KERIS”
29 Keris Bugis Madura, Indonesia. Keris, Blade straight lurus Pamor Wulan wulan (scattered rice grains) Warangka (sheath) typical ladrang form of Madura Copper mendak and a soldier handle in wood. Madura soldiers were auxiliaries of the Dutch forces in Java. 18th- 19th Century Height: 40 cm Price: 1.100 euros
Object presented by: Cédric Le Dauphin M.: +33 6 07 82 95 08 E.: c.ledauphin@gmail.com
DAYAK FIGURE
30 Archaic figure Dayak Borneo Wood Height: 77 cm Price: 2.500 euros
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
BALINESE GOLD RING
31 Ring Bali, Indonesia Gold 19th century. 8g / Size US7,75/ Ø 18 mm N°16.5 Price: on request
Object presented by: Cédric Le Dauphin M.: +33 6 07 82 95 08 E.: c.ledauphin@gmail.com
Beautiful high carat gold ring with a pink ruby from Indonesia. This ring is enriched with a filigree and pearl work of gold, figuring flowers and to birds on the side who hold the stone in their beak.
SEPIK BOWL
32 Bowl Sepik Papua New Guinea Wood End 19th early 20th Century Height: 86 cm Price on request
Object presented by: Lucas Ratton M.: +33 1 46 33 06 24 E.: contact@lucasratton.com
“MARUPAI” CHARM
33 “Marupai” charm Papuan Gulf, Papua New Guinea Carved coconut, pigments, string bag Early 20th Century Provenance: Ex collection Leo & Lilian Fortess, Honolulu Ex collection John & Marcia Friede, Rye, New York Price: 1.200 euros
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
Marupai were hunting or personal spiritual charms. They served a variety of functions (protection, sorcery, divination and much more). As stated by Richard Aldridge (2012), Gulf of Papua art is essentially religious in nature. The faces on marupai represent mythical heroes. Not all these ancestral heroes are human with many being able to take the forms of crocodiles, lizards, birds, pigs and even natural phenomena such as whirlpools, they should nevertheless all be considered deities. The marupai presented here, of very large dimensions, still has its original string bag. It came from the celebrated collection of John & Marcia Friede (Jolika collection).
MASSIM SPATULA
34 Lime Spatula Massim area Papua New Guinea Carved wood and pigments Early 20th Century Height: 38,5 cm Price: 1.850 euros
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
ESKIMO WINGED OBJECT
35 Harpoon Counterweight Archaic Eskimo, Old Bering Sea II culture Alaska 100 – 300 A.D. Carved walrus tusk Length: 11.2 cm Provenance: Ex private collection, New York Ex private collection, Geneva Price on request
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
This ancient Eskimo counterweight, called a “winged object”, was attached to the back of a hunting harpoon in order to ensure its aerodynamic stability in flight. The hunt for marine mammals was essential to survival in the Bering Strait region. Above and beyond their purely functional aspects, these harpoons also had a sacred dimension, which reveals itself here through the finely engraved shamanic designs which cover the surface of this extremely rare sculpture dating over 1500 years back.
NOOTKA HAT
36 Hat Nuu Chah Nulth (Nootka) Pacific Northwest Fiber, pigment Circa 1875 Diam.: 29 cm Provenance: Private US collection Price on request
Object presented by: Dori Rootenberg M.: +1 646 251 8528 E.: dori@jacarandatribal.com
Peaked woven hats were commonly found among the Nuu Chah Nulth (Nootka) of the southern Northwest Coast of North America. Some, like this example, were flat-topped, while others terminated in a conical knob. They often bore iconography of animals and hunting scenes, whether woven or painted, and might confer information about the wearer’s clan or personal history. Constructed of tightly woven cedar bark and beargrass, such hats provided excellent protection from the frequent rains of the Northwest Coast. The hat presented here features black and red animal motifs painted in the round.
“KACHINA” DOLL
37 Wood-carrying Kachina doll Hakto Katsina Hopi, Arizona, USA Carved cottonwood, natural pigments Circa 1910-1920 Height: 25 cm Price on request
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
“Kachina”: one word says it all! For the Hopi people of Arizona in the American southwest, “Kachina” (plural “Katsinam”) means wooden statuette, masked dancer or deity. There are hundreds of different Kachina gods and spirits in Pueblo pantheons. Each one of those beings has its own costume, symbols and colors. Hakto is a diminutive of the Zuni name Yamuhakto, which means “carrying wood on his head.” In Hopi, this kachina spirit appears in the Mixed Dance. The vertical colored lines on the sides of the mask represent perspiration marks.
