INTERVIEW
FREDERIC ROND
Frederic Rond was born in 1974. In 1999 he won the Ehrhardt prize in atomic physics. From 1999 to 2006, he was a Business Intelligence consultant with Axa group, with frequent stays in India. In 2006 he established Indian Heritage, specializing in Indian and Himalayan art. The gallery offers both primitive and classical pieces, with a focus on Himalayan masks. Mobile : +33 (0)142775848 Email : indian.heritage@yahoo.fr Web : www.indianheritage.biz
WHEN WAS YOUR FIRST ENCOUNTER WITH TRIBAL ART? WAS IT IN A MUSEUM OR IN A GALLERY? WHAT TRIBAL ART OBJECT ATTRACTED YOU FIRST? It was more than 20 years ago, behind Jama Masjid (Old Delhi’s main mosque) in a small dusty shop in the scrap merchants area that I discovered a Bhuta (“spirit”) mask of a boar-headed deity, in bronze, from Karnataka (South West India). Struck by the strong primitive expression of this piece and, at the same time, by the extreme refinement of the technique used for its fabrication (lost wax casting), I started gathering information about Bhuta worship besides collecting masks. HOW DID YOU BEGIN SELLING TRIBAL ART? ARE YOU A SELFTAUGHT DEALER OR DID YOU HAVE A MENTOR? WHICH DEALERS INSPIRED YOU EARLY ON? Having always been fascinated by ancient arts, I studied atomic physics hoping that one day I could work in a museum’s lab or in archaeology. When I realized that I could not find a scientific job in relation with art, I spent 10 years in IT consulting in order to save enough money to buy a commercial lease and then establish my own gallery. As by that time I had already been travelling to India and the Himalayas for almost a decade (up to 5 times a year - a real addiction!), I could not think of selling something that was not related to this part of the world. In a way scientists and art lovers share the same approach: They search, sometimes find and then try to learn as much as possible from and about their discoveries. ARE YOU A SELF-TAUGHT DEALER OR DID YOU HAVE A MENTOR? In a way, I am a self-taught dealer as no one in my entourage runs a business but in another way I am also, in a big proportion, the result of all the discussions I have had with my clients, friends and suppliers. When I asked an Indian friend of mine who had been in this business for decades, about what was the best way to learn this job, he answered : « Just be silent and you will learn from others ». So the correct answer is that I have hundreds of mentors! DO YOU REMEMBER WHAT WAS THE FIRST REAL PIECE YOU BOUGHT? I have a very clear memory of the first Himalayan mask I dreamt about.
The price was much too high for me at that time but I finally managed to get my hands on it by trading other pieces. It was a colourful tiger mask from the South East of Nepal. After I saw it I just could not get it out of my head and it was at this precise moment that I realised the gravity of my disease! DO YOU THINK IT IS IMPORTANT TO BE INITIATED TO START COLLECTING? I would compare this situation to a mathematical problem that you need to solve. If someone brings you the solution, it will be useless unless you have already carefully studied the problem by yourself. So, when you start a collection, I think being initiated can be helpful only if you are already on the path of research. THERE HAVE BEEN A NUMBER OF CASES OF FORGERIES IN THE TRIBAL ART MARKET. HOW DO DEALERS GIVE THEIR CLIENTS CONFIDENCE REGARDING WORKS THAT ARE DIFFICULT TO TRACE? Fakes are a part of the journey for all dealers and collectors. They push you to improve your skills in terms of investigation, logic, iconography and intuition. From a more practical point of view, before selling an object, a dealer should be able to explain to his clients what a fake version of it would correspond to. ARE WE SEEING A NEW GENERATION OF COLLECTORS EMERGING IN THE HIMALAYAN TRIBAL ART MARKET? In the Himalayan tribal art market, most of the new collectors (whether young or old) are experienced players coming from other specialities. Their number has grown significantly in the past two years. DO YOU COLLECT ANYTHING YOURSELF OR DO YOU JUST ENJOY TURNING DEALS? I do collect Himalayan masks and figures with a lot of enthusiasm, however, my personal collection is ephemeral, it is constantly in movement. Anyway, as people say, « shrouds have no pockets » ! IS THERE ANY MATERIAL THAT YOU WON’T BUY OR SELL? ANYTHING THAT IS TABOO OR OFF LIMITS? I try to be as sharp as possible about objects coming from South Asia which is already a huge geographical area. So, on display in my gallery, you will seldom find a piece that does not belong to my « area of least-ignorance ». WHAT ARE THE AESTHETIC ASPECTS THAT GUIDE YOUR CHOICES? My choices are not led by esthetic aspects, they are all about the emotion that I feel when I am in front of a piece, as ugly as it can be..
A piece of art is a window that opens onto the heart of the person who created it. So, my way of choosing a piece or a person is the same, it is all about emotion ! YOU’VE BEEN ON THE MARKET FOR A TIME NOW. DO YOU SEE AN EVOLUTION IN THE HIMALAYAN TRIBAL ART MARKET? Because Nepal, the main source for Himalayan tribal art, opened its borders only in 1951, this market is still very young and far from having reached its apex. There are several reasons why more and more collectors have started buying Himalayan tribal art these days: 1/ The early desertion of ancestral rituals and the dryness of the climate have allowed the market to be fed with very old pieces (some wooden masks have been dated as 15th century by C14 tests). 2/ The isolation of Nepalese villages, separated from each other by steep mountain ranges, has led to an amazing variety of shapes and designs. 3/ Because local life is extremely tough and because the craftsmen can express their feelings without too many external influences or iconographic constraints, the resulting artefacts are, for most of the time, extremely moving, powerful and full of humanity In the last 2 years, in Nepal, there has been a severe shortage of old tribal objects. It seems that the best pieces are now in the Occidental world and that this corpus will not increase significantly. The Himalayan tribal art market has reached a stage similar to when a famous painter passes away and when his collectors can figure out what the masterpieces are and how numerous they are. Usually, if there is enough material to build important collections, this is the start for the market to grow. The prices reached by several Himalayan masks in auction this year (around 50,000₏) are probably the first illustration of this growth. DO YOU THINK A COLLECTOR FEELS MORE REASSURED WHEN HE BUYS AT AUCTIONS THAN FROM A DEALER? Are people more reassured when they have an arranged or a love marriage? In an arranged marriage you have experts telling you who you should marry and you discover your better half just before or during the ceremony. In a love marriage, you can meet your beloved many times before taking a decision, you can have her in your house to see if she likes the place and you can get advice from a person that can be closer to you than a professional match maker. Both can be successful but the approaches are different. DO YOU THINK THAT AUCTION HOUSES ARE A THREAT FOR DEALERS, WHO WILL FIND IT MORE AND MORE DIFFICULT TO MAKE A LIVING? Auction houses are an amazing source of high quality objects for those who are good specialists and who like treasure hunting. I think that they are a threat only for dealers who try to do business like auction houses, i.e. on a large spectrum of objects and through very formal relationships with their clients.
CAN YOU IMAGINE DOING ANYTHING ELSE FOR A LIVING? IS THIS A BUSINESS YOU RETIRE FROM? No way, only Saint Peter is allowed to tell me when to retire! IS THERE ANY OBJECT IN YOUR COLLECTION THAT YOU LIKE MORE THAN OTHERS? Yes and it changes quite often, treasure hunting is endless and that is just fantastic!
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 Ancestor figure Dogon Mali Wood Height.: 38 cm old inventory N° : 89.42 on the base Price: SOLD
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
SENUFO MASK
02 Kono mask Senufo Mali Wood and crusty patina End 19th- Early 20th Century Height: 55 cm Provenance: Galerie Olivier Castellano,Paris Private collection, France Price: 6.000 euros Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
BANKONI BUST
03 Bust Bankoni Mali Terracota 14-16th Century Height: 22 cm Price: 3.800 euros
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
LOBI FIGURE
04 Figure Lobi Burkina Faso Wood Height : 120 cm Provenance : Max itzikovitz, Paris Private collection, France Price on request €
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
MOSSI FLUTE
05 Large flute Mossi or neighboring peoples (Gurunsi, Bwa / Nuna) Burkina Faso Carved wood 20th Century Height: 30 cm Price: 1.400 euros
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
Music plays a primordial role in the cultures, ceremonies and more generally in the daily life of the peoples of Africa. In most cases, whistles and flutes produce three notes by alternating air pressure using the two lateral holes. These instruments are hung around the neck or over the shoulder. Whistles and flutes are also used for hunting. The different frequencies of the tones allow hunters to communicate among themselves. Finally, these instruments are used as well during initiation ceremonies and for agrarian festivals. This anthropomorphic Nuna / Mossi flute is characterized by the balance and elegance of its forms. The fine-aged, patina attests to its prolonged use.
LOBI FIGURE
06 Double headed snake altar figure Lobi/Gan. Burkina-Faso iron. Height: 28 cm Price: SOLD
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
BIRIFOR AMULET
07 Ritual amulet Birifor Burkina-Faso iron. Height.: 11cm Price: 600 euros
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
LOBI CURRENCY
08 Snake-shaped altar piece / currency Lobi Burkina Faso 20th Century Height: 64.5 cm Price: 1.800 euros
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
Among the Lobi, these snake currencies are altar objects. The shape and style of these snake figures are not related to their protective function but rather depend on the specific instructions of the soothsayer and the work of the blacksmith. The sinuous, dynamic form of this iron sculpture is absolutely mesmerizing!
DAN BRACELET
09 Bracelet Dan WĂŠ Liberia Bronze Height : 24 cm Provenance : Marie and Philippe de Thezy, Paris Private collection, France Price : 3.200 euros
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
BAULE SCULPTURE
10 Blolo bian sculpture Baule Ivory Coast Wood Early 20th Century or before Heigth: 39 cm Provenance: Eudald Serra Collection (sculptor, 1911-2002), Spain (acquired before 1971). Price: 4.000 euros
Object presented by: David Serra T.: +34 (0) 667525597 E.: galeria@davidserra.es
BAULE MASK
11 Mask Baule Ivory Coast Wood Height : 34 cm Provenance: Franco Monti collection Price on request
Object presented by: Joaquin Pecci T.: + 32 477 43 94 12 E.: joaquin.pecci@skynet.be
BAULE MASK
12 Mask Baule Ivory Coast Wood End 19th - Early 20th Century Height: 25 cm Galerie Philippe Ratton, Paris Private collection, France Price on request
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
GURO HEDDLE PULLEY
13 Heddle pulley Gouro (Guro) Ivory Coast Carved wood Early 20th Century Height: 17.5 cm Price: 900 euros
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
VOLATAIC AMULET
14 amulet Early volataic Bronze Height.: 5 cm Price: 500 euros
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
IBO (?) CURRENCY
15 Bracelet currency Ibo? Nigeria Copper Height: 15 cm Long 31,5 cm Provenance: Private Collection, Spain. Price: 1.200 euros
Object presented by: David Serra T.: +34 (0) 667525597 E.: galeria@davidserra.es
BAMILEKE MASK
16 Mask Bamileke Cameroon Wood Height : 55 cm Provenance : Catherine Sargos, Bordeaux Price on request
Object presented by: Joaquin Pecci T.: + 32 477 43 94 12 E.: joaquin.pecci@skynet.be
CHOKWE MASK
17 Katoyo mask Chokwe Angola Wood, hair, natural fibers, glass beads,metal, teeth and feathers Late 19th - Early 20th Century Height: 33 cm Provenance: H. Baumann Collection, Germany (1902-1972). Probably acquired in 1938. Dr. Elsum. M. Verhey Collection, Amsterdam. Van Bussel, Amsterdam. Published and exhibited: Imaginaire Tribal 2017. Galeria David Serra Fine Tribal Art, Barcelona. Parcours des Mondes, sept. 2017. Price: 8.000 euros
Object presented by: David Serra T.: +34 (0) 667525597 E.: galeria@davidserra.es
TEKE FETISH
18 Fetish Teke D.R. of Congo First 3rd of 20th Centuty Height: 19 cm Provenance: Old private collection Price: 850 euros
Object presented by: Laurent Dodier M.: + 33 6 08 22 68 15 E.: laurentdodier@wanadoo.fr
Butti fetish. Standing male character. The legs are slightly bent. The head wears a hairstyle with two buns. The cheeks are decorated with fine vertical scarifications. The nose is small, short and wide. The mouth is open in relief and is decorated with a small beard on the chin. The fetish has lost its magic charge. Themagician fixes certain substances or ingredients (small animal bones, seeds, leaves, feathers, etc.) to the stomach, using clay or a resinous material. It is more of a spirit trap than a deity. The fetish cures illnesses, promotes success in hunting or fishing, ensures fertility or protects against thieves or spellcasters, can also protect children until puberty and in this case, contain fragments of placenta. He remains dependent on the magician and is the subject of a whole ritual of consecration. In the event that the possessor realizes that the fetish has lost his power, he does not hesitate to throw it away as an ineffective thing.
KUBA CUP
19 Cephalomorphic cup Western Kasai Kuba D.R.. of Congo Wood Early 20th Century or before Height.: 21,5 cm Provenance: Private Collection, Belgium. Private Collection, United Kingdom. Price: 6.000 euros
Object presented by: David Serra T.: +34 (0) 667525597 E.: galeria@davidserra.es
SONGYE AXE
20 Axe Songye -Sanga D.R of Congo 19th Century Wood and iron Height: 118,7 cm Provenance: Collected by a British naval officer, early 19th century James T. Hooper, Arundel Price on request
Object presented by: Patrick & Ondine Mestdagh M.: +32 475 467 315 E.: pm@patrickmestdagh.com
Similar axe to the museum of Tervuren and Rotterdam. Jan Elsen (2003, p. 252, n ° 95), speaking of a comparable weapon in the collections of the Barbier-Mueller museum - but not figurative - writes that “in a Belgian review dated 1896, an author writes that the ax whose value is the most considerable, as much by its beauty as by its work, is called malléla. [...] It indicates an origin Bassanga, which corresponds to Songye-Sanga, living in the north of Songyé-Kalebwé, in the heart of the territory of origin of rosettes and copper inlays Bibliographic reference: “Fatal Beauty”, ill. 452, p. 236 “Of iron and pride”, White weapons of black Africa of the Barbier-Mueller museum, ill. 95a, p. 252
MONGO BELL
21 Une très rare et complète cloche Mongo D.R of Congo 19th century. Wood, iron and copper Height.: 94 cm Provenance: Collection Walschot, Belgium Collection Henrion, Belgium Price on request
Object presented by: Patrick & Ondine Mestdagh M.: +32 475 467 315 E.: pm@patrickmestdagh.com
BULUL FIGURE
22 Figure Bulul Philippine islands Wood (arms fixes with old nails, legs glued) Height: 69 cm Provenance: French private collection Price: 4.500 euros
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
BATAK FETISH
23 Fetish Batak Sumatra. wood Height.: 39 cm Provenance: Collected in the 70’s Price: SOLD
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
DAYAK SWORD
24 Mandau sword Dayak Borneo Height.: 62 cm Price: 750 euros
Object presented by: Renaud Vanuxem M.: +33 6 07 11 50 60 E.: rvanuxem@yahoo.fr
BATAK CONTAINER
25 Container for Magical Substance or Naga Morsarang Toba Batak people Sumatra, Indonesia Horn, hair Late 19th to early 20th century Long : 117 cm Provenance: Bruce Frank Price on request
Object presented by: Joe Loux M.:+1 505 695 6626 E.: joe@joeloux.com
WOSERA SEAT
26 Seat Wosera People Middle Sepik, PNG Wood (Alstonia ?) with remains of native and commercial paint. Height: 53.8cm. Early to mid 20th Century Provenance: Collected in the field by Peter Hallinan in the late 1970’s. Ex Peter Hallinan (1938-2015) collection (inv. N° H949), Surfers Paradise. Published in : Meyer, Anthony JP : OCEANIC ART / OZEANISCHE KUNST / ART OCEANIEN. Könemann Verlag, Köln. 1995, Fig. 305, p. 278 Price on request
Object presented by: Anthony J.P. Meyer M.: + 33 (0) 6 80 10 80 E.: ajpmeyer@gmail.com
An unusual seat with a large splayed nggwal figure carved on the back-rest. Seats of this type belong exclusively to Big Men : men with political power, wealth and direct links back to important ancestors. These Big Men are the elders, the village council and the voice of reason. The seat with a back rest is unusual and possibly stems from the encounters with early European explorers and settlers who arrived with chairs. The large figure of the ancestral spirit is superbly rendered with the face carved in high relief jutting from the rear of the backrest. The body is carved in a contrasting low relief.
SEPIK DISH
27 Anthropomorphic pigment dish Lower Sepik, Papua New Guinea Carved wood and pigments Early 20th Century Height: 12 cm Provenance: Ex private collection, Australia, reportedly acquired from Elizabeth Pryce, Sydney Ex collection Pierre Mondoloni, France Price: 1.900 euros
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
HUON NECKREST
28 Neckrest Huon Gulf, Tami Islands, Papua New Guinea Late 19th century Wood Long: 41 xm Price on request
Object presented by: Joe Loux M.:+1 505 695 6626 E.: joe@joeloux.com
ABORIGINAL SHIELD
29 Shield Aborigene Australia Carved wood and pigments 19th or early 20th Century Height : 97 cm Price: 2.800 euros
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
This Australian aboriginal shield is made from wood and earth pigments. As stated by the National Gallery of Victoria in Melbourne, for Aboriginal societies, shields were unique objects of power and prestige. They would have been used to protect warriors against spears in staged battles or clubs in close fighting, during contests for water, territory and women. Some of them would also have been used during dance ceremonies such as in corroborees, sacred rituals or informal gatherings. These shields were viewed as having their own innate power and a shield that had “won many fights� was prized as an object of trade or honor.
SOLOMON “BOKOLO”
30 Bokolo Solomon Islands, Melanesia. Giant clam shell (tridacna giga). Height: 13,2 cm. 19th Century or earlier Provenance: Ex coll. : Todd Barlin, Sydney. See another example in Meyer, Anthony JP: OCEANIC ART / OZEANISCHE KUNST / ART OCEANIEN. Könemann Verlag, Köln. 1995, fig. 424, p. 384/5, vol. II. Price on request€
Object presented by: Anthony J.P. Meyer M.: + 33 (0) 6 80 10 80 E.: ajpmeyer@gmail.com
A superb and large bokolo or chiefly wealth item ornamented with four figures: the two external figures are avian, and the two central ones are anthropomorphic. The bokolo, which are a distinct form of barava, are sacred items associated with the chief; they were often attached to the rafters and walls of the chiefly burial houses. Making a bokolo is extremely difficult as the shell is amongst the hardest of natural materials. Freshly fished shells were not used – only those that were dug up from the ground, and by consequence of great age and size, were considered to be usable. The shell was broken up and trimmed to the right general dimensions by burying the wanted in wet sand and heating the exposed part with fire – then dousing it with cold water and breaking off the unwanted piece. The fine intricate open-work was made by first drilling a hole and then using a fine strip of bamboo, water, and fine abrasive sand to saw out the desired areas. Grinding and polishing was done with stones, other pieces of shell, leaves, abrasive sands, and shark-skin.
TOLAI MASK
31 Lor mask Tolai, New Britain Gazelle Peninsula, Bismarck Archipelago Carved wood, pigments, vegetal fiber Mid 20th Century Height: 34 cm Provenance: Field-collected by Loed Van Bussel Ex collection Jo de Buck, Brussels Price on request
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
As stated by the Metropolitan Museum of New York, these masks appearing to be smiling are known by variants of the name lor, which means “skull” in Tolai language. Tolai lor masks are worn by performers in a dance called tambaran kakao (“spirit that crawls”). The masks reportedly represent a spirit that comes to a local leader in dreams and reveals the details of dance paraphernalia and choreography.
Sumatra, IndonĂŠsie
MALEKULA WAND
32 Dance-Wand Malekula Island. Wood with pigments. Height: 64 cm. 19th/20th Century Provenance: Ex Stéphane Mangin, Galerie Kanega, Paris. Illustrated in: Meyer, Anthony JP.: ART du/of VANUATU. Catalogue d’exposition. Galerie Meyer, Paris. 1998, fig. 6, p. 12. Price on request
Object presented by: Anthony J.P. Meyer M.: + 33 (0) 6 80 10 80 E.: ajpmeyer@gmail.com
A dance-wand carved with horned human figure surmounting a small face. The iconography is identical to the large ceremonial post illustrated in Meyer, ART du/of VANUATU, 1998, N° 7. Nothing remotely similar seems to be published and one can only surmise that this wand was used in ceremonies related to cult activities.
POUEBO SPEAR THROWER
33 Spear thrower Possibly the PouĂŠbo area of the North Western Coast, New Caledonia, Melanesia. Fiber (unidentified) Height: 19 cm 18th/19th Century Provenance: Ex private French collection Price on request
Object presented by: Anthony J.P. Meyer M.: + 33 (0) 6 80 10 80 E.: ajpmeyer@gmail.com
A very fine early spear-thrower. The spear-thrower is composed of a length of woven fiber, or cord, with a becket, or large loop, at one end and a large knot at the other. In using it the loop is slipped over the forefinger and the other end is fastened around the spear by a half hitch blocking the strap in place until the launch. As long as the cord is stretched by the pull of the forefinger it holds tight to the shaft. As soon as the cord is relaxed the slight elasticity of the fiber helps to release the band from the shaft helping to propel the spear forward with greater power and accuracy.
ADMIRALTY SPATULA
34 Lime Spatula Admiralty Islands 19th-early 20th Century Total height: 34,3 cm Figure’s height: 10,2 cm Provenance: Private Italian Collection Price on request
Object presented by: Bruce Frank M.: +1 917 733 9589 E.: bfrank212@aol.com
Spatulas for the application of Lime can be found all over Oceania. This example is from the Admiralty Islands; figurative sculpture from this area is difficult to acquire. This example consists of a finely carved ancestor with elaborate headdress. There is great attention to detail; such as a delineated scapula, and arms that are carved away from the body. The patina is rich and deep from generations of use and handling. In excellent condition.
NIUE CLUB
35 Rare club Niue Island 19th Century Wood Height.: 44 cm Provenance: Private collection,UK. Circa 1960-1970 Bonhams London, 26 avril 2007 Ref. Biblio : Edge-Partington, 1996, series I, pl. 63, ill.2 Price on request Object presented by: Patrick & Ondine Mestdagh M.: +32 475 467 315 E.: pm@patrickmestdagh.com
ALASKA FIGURE
36 Figure (missing arms) Alaska Early 19th Century Sea ivory Height: 7,3 cm Provenance: vente Loudmer of June 27, 1985, lot n ° 50 Former private collection, Paris. Price: 2.000 euros
Object presented by: Laurent Dodier M.: + 33 6 08 22 68 15 E.: laurentdodier@wanadoo.fr
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INUIT AMULET
37 Amulet Early Inuit Alaska, USA Carved bear tooth 17th -19th century Height: 2 ¼ in. (5.5 cm) Provenance: Ex Christie’s London, 16 October 1979 lot 258 Price: 3.200 euros Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
According to William Fitzhugh, these shamanic figurines were carved for several purposes: to stand in for people absent from the village during festivals, to avert infertility, or else to focus the attention of animal inua (spirit) during the Doll Festival, which was held to bless hunting and fishing expeditions in the coming year. These dolls were also made as children’s toys or for calling upon the “masters” of game animals. In the reference publication “Inua, spirit world of the Bering Sea Eskimo”, Fitzhugh and Kaplan, 1982, comparable heads / dolls are illustrated pages 147 & 155.
ESKIMO EYES SHADE
38 Eyes shade Ammassalik Eskimo, Eastern Greenland. Wood, walrus bone, skin and tusk (Odobenus rosmarus divergens) Height: 15,2 cm. 19th/20th century Provenance: An old, fragmentary paper label : N° 64 present on the underside. Ex coll. : the Danish artist Werner Pawl (1918-1970). Subsequently collection David Utzon-Frank, Copenhagen. See identical examples in the Gustav Holm collection in the Danish national museum, Copenhagen and in the Greenland National Museum in Nuuk. Price on request
Object presented by: Anthony J.P. Meyer M.: + 33 (0) 6 80 10 80 E.: ajpmeyer@gmail.com
A very rare form of eye shade used by Ammassalik hunters to protect their eyes from the glare of the sun on the ice floes. The wooden visor is embelished with 14 pegged marine mammal effigies (seals, walrus and several unidentified), and pegged ivory separators. The outer rim is reinforceced with pegged bone strips. The strap is embelished with 42 bone or ivory beads. There are two deeply excavated round spaces on the top of the visor originally for the inlay of ornamental stone roundels.
THULE KNIFE
39 Knife Thule Culture Western (?) Greenland, 1500 – 1800 AD Walrus tusk (odobenus rosmarus rosmarus) and iron blade Height: 17,4 cm. Provenance: Originally acquired at Christies, London; Ex coll. : Kurt Schindler, Waldkirch; Heinz Bründl, Munich, Sammlung Mythos Wild West, Munich Price on request A very fine ulu or woman’s knife. The ulu is a crescent (usually) bladed knife culturally exclusive to females. It is used to prepare skins, cut meat and fish and can also be used to cut hair or small items of wood. The ulu is considered to contain the knowledge of the ancestors and it is thus passed down through the female generations as an heirloom. In the pre-metal period, the blades were made of slate, quartzite and shale, and more rarely cold-hammered native copper or meteorite. Later on, imported iron and steel were incorporated into the manufacture of ulu blades. The present example has an unusual and wider blade than most which is attached to the finely carved arched grip with two iron, riveted struts. The grip is beautifully carved with a ridged pattern divided in the center and directed outwards towards each end of the blade. Object presented by: Anthony J.P. Meyer M.: + 33 (0) 6 80 10 80 E.: ajpmeyer@gmail.com
PUEBLO FETISH
40 Fetish Pueblo people Southwestern United States Stone 19th Century or earlier Height: 33 cm Price on request
Object presented by: Joe Loux M.:+1 505 695 6626 E.: joe@joeloux.com
CHANCAY FIGURE
41 Cuchililco Chancay civilization Peru 1200-1400 AD Terracota with « négro-blanco » pattern Height: 62 cm Provenance: Ex collection Elie Azagury, Maroc. Ex collection Guy Van Rijn, Bruxelles. Price: 6.000 euros
Object presented by: Laurent Dodier M.: + 33 6 08 22 68 15 E.: laurentdodier@wanadoo.fr
Important statuette, represented standing. The head is rectangular and the face wears a frontal band. the body is cylindrical, the hands are short and flat, the fingers raised. Funeral furniture, these statuettes were placed in the tomb and accompanied the deceased on his long journey. The flat shape of the head is typical of the deformations that were practiced in the Chancay culture.
HOPI DOLL
42 Kachina doll Hopi, Arizona, USA Carved by Hopi Chief Wilson Tawaquaptewa (1873-1960) Carved wood (cottonwood root), natural pigments Circa 1930s Height: 20.5 cm Published in: American Indian Art Magazine, Winter 1998, p. 58 Ex collection Barry Walsh, USA Price: on request
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
Kachina dolls (or katsinam) represent spirits or gods from the pantheon of the Pueblo peoples in the American Southwest. Given to children, kachina dolls constituted a pedagogical tool allowing them to familiarize themselves with the spiritual world and perpetuating knowledge of the founding myths on which their society was based. This figure shown here is the work of a Hopi master carver, Wilson Tawaquaptewa (1873- 1960). The colors, motifs and poetic presence of this doll are typical of this carver. Wilson Tawaquaptewa (sometimes spelled Tewaquaptewa) was both a prominent a spiritual and political Hopi leader in the village of Oraibi; he is also celebrated as the greatest Hopi kachina doll carver in the first part of the 20th century