CEDRIC LE DAUPHIN
CĂŠdric le Dauphin opens his first gallery in 2002, rue Lebeau aux Sablons (Brussels). He then returns to Paris where he is from and where is currently working. His specialties are Tribal and Asian Art, weapons and jewelry. He has participated to Bruneaf, Parcours des Mondes, the Biennial of Vienna and Paris Tribal of which he is the current president. 69 rue Condorcet - 75009 Paris - France Tel : +33 6 07 82 95 08 Email : c.ledauphin@gmail.com
INTERVIEW
WHEN WAS YOUR FIRST ENCOUNTER WITH TRIBAL ART? I was brought up in an antique dealers environment. My father is himself a Japanese arts specialist and a collector of oriental arms and tribal arts. I remember from childhood a wall in my parents flat where a Japanese horse chamfer, a Gope board and a Dayak shield hanged over a big Golden Buddha. The mix stroke my mind for ever. These object are not strictly tribal art. But they are probably the source of my inspiration, artefacts from artists in past societies, that were meaningful in religious, rites or belief systems. HOW LONG DID IT TAKE BEFORE YOU YOURSELF PURCHASED YOUR VERY FIRST PIECE? My first peace, a Senufo brass cast, was given to me by Madame Rasmussen. It was a reward for identifying a Dan mask on the wall in her gallery. I was seven. HOW DID YOU BEGIN SELLING TRIBAL ART? ARE YOU A SELFTAUGHT DEALER OR DID YOU HAVE A MENTOR? WHICH DEALERS INSPIRED YOU EARLY ON? I started selling art long after I began collecting Indonesian artefacts. I first opened my Bruxelles’ gallery in 2002. I asked my Dad still dealing in Japanese arts at the time to join me, and we worked five years together. Quite an experience! DO YOU REMEMBER WHAT THE FIRST IMPORTANT PIECE YOU BOUGHT? Of course, although it was long time ago, a Tibetan book cover from the Fournier collection. It was love at first sight. DO YOU THINK IT IS IMPORTANT TO BE INITIATED TO START COLLECTING? Yes I do. Collecting is a deep yearning. In part it is a desire to assemble a whole body of work according to your taste and finds. In this process, a good dealer will help you not only by providing the best pieces but will also sharpen your eye, as well as support and consolidate your collection. Other high-level collectors can also help you by confronting their pieces and assessing some others.
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? Trust takes time and is built on experience. Every dealer has his own reputation and is known for the specialties he deals in. Part of our work is to constantly keep learning and improving in this vast body of works. As a professional we get to see and evaluate a considerable amount of pieces, exchange with other professionals and never stop training our eye. Nothing replaces experience and hard work. To me it’s our duty as dealers to select essential items and meaningful masterpieces from the market, show them, as well as publish them for posterity and the advancement of public knowledge. ARE WE SEEING A NEW GENERATION OF COLLECTORS EMERGING IN THE TRIBAL ART MARKET? Fortunately new collectors are entering the Tribal Art market. I don’t work so much in the mainstream, such as African pieces or some Oceanic ones. I have always strived to show other kinds of arts more or less linked to tribal arts. It’s up to us dealers to educate collectors and the general public alike to see the specific light we put on objects. You find masterpieces in any art expression in each and every tribe and societies, and each of them have their own unique ways about sophistication and refinement. A new generation of collectors is emerging out of Asia and Africa. Slowly but steadily, their weight in the market in increasing and they are a promise of success for dealers able to understand them and cater for their specific needs DO YOU COLLECT ANYTHING YOURSELF OR DO YOU JUST ENJOY TURNING DEALS? Hunting for new pieces always pushes you to sell your best finds and it is the only way to entertain your best clients. But you can always collect something different than what you specialize in. That’s what I do IS THERE ANY MATERIAL THAT YOU WON’T BUY OR SELL? ANYTHING THAT IS TABOO OR OFF LIMITS? I do not like black magic objects, but there are not prevalent in my areas. Honestly, there’s not much I would refuse to sell if it’s genuine and interesting. To me every art is sacred, so if treated with respect it should not be off-limit. I put limits in the way I work with clients and suppliers, but generally speaking, if you play fair and honourably there shouldn’t be any. WHAT ARE THE AESTHETIC ASPECTS THAT GUIDE YOUR CHOICES? I like the high level of requirements of Japanese artists and the whimsical ways of Dayaks’ one. In this Asian mix I like both the tribal with it’s fantasy and the classic sides with it’s high standards of refinement.
It moves me and pleases my eye at the same time. I love my job… Academically you can find the same cubist transcriptions in a south Sumatra kriss handle as in the spoon woman of A. Giacometti or in some Brancusi faces sculpture reminiscences of Chu dolls from the 5th to 3rd century BC. I like objects strong in shapes, fluent in lines, and charged with meaning and beliefs. CAN YOU DISCUSS A FEW OF THE MAJOR HIGH PROFILE PIECES YOU’VE SOLD? Yes I can for some! It goes from a giant coral sculpture from the Sulu sea to fabulously elaborated gold filigree beads from early Pyu kingdoms. They are very different and rare testimonies of glorious pasts. They still carry the essence of their art and the inspiration of their makers. I also have in mind some Indonesian masterpieces like ivory kriss handles, small treasures carrying traditions, legends and the refinement and the luxury of not so distant past. They are the kind of treasures I’m always looking for. I still enjoy hunting for them on their home ground. Seeing them in their native environment gives them another dimension. Still, for many of us collectors, the Best Object is the next one. WHAT KINDS OF OBJECTS ARE MOST SUITED TO THE FRENCH MARKET? The French Market is actually open to anything beautiful, precious and well documented, preferably with its historical and cultural background and a nice pedigree. Of course, the taste for our past encounters with the African arts is undeniable but as I experience daily, French do love beautiful and luxurious pieces. WHAT ART FAIRS DO YOU CURRENTLY PARTICIPATE IN AND WHICH SEEM TO BE THE MOST SUCCESSFUL? Each major art fair has its own style and its own ways. I am now very interested in what is happening in Asia and am doing a lot of exploring. WHAT IS YOUR NEXT PROJECT/PUBLICATION ? We will be exhibiting in the Hong Kong jewelry show this September, if it takes place, which is uncertain given the political situation. I have also completed and will publish a new study on Javanese kriss handles this year. It is a very comprehensive work from long researches on the subject. I am pleased to have assembled a lot of information and rare illustrations. It’s probably not headed for a best-seller list but it will bring solid references to kriss enthusiasts and I am actually interested to see how it will be received over in the Indonesian market… IF THERE WERE NO SHORTAGE OF GREAT MATERIAL FROM ONE CULTURE OR REGION (AFRICAN, OCEANIA, N. AMERICA) WHAT WOULD YOU PREFER TO SPECIALIZE IN? Good taste and masterpieces know no countries or borders.
I specialize in Keris and Asian gold jewelry as my life and personal taste have driven me, but I also deal in African and Oceanian art pieces when they are worthwhile. DOES YOUR FAMILY SHARE YOUR PASSION OR IS IT YOUR PRIVATE UNIVERSE? DID YOU TRANSMIT YOUR ENTHUSIASM AND YOUR PASSION TO SOME FRIENDS? My family actually lives (literally) in the middle of my passion for arts. All my friends, even those not specifically fans of Asian and tribal arts, all indulge me and enthusiastically hear about it. A good number of clients have become friends over the years, and so have quite a lot of various work partners and colleagues sharing my passion YOU’VE BEEN ON THE MARKET FOR A TIME NOW. DO YOU SEE AN EVOLUTION IN THE TRIBAL ART MARKET? It does of course fluctuate more or less with the general economy, but more and more reflects an increased divide between the very rich and the other people in our societies. There’s also the real interest of the natives for their own arts and cultures. I’m not talking of the mercantile claims, that arise from time to time. There’s a genuine cultural investments, sociological interests and new collectors from the countries of origines. The Asian home markets are young and growing with big appetites and new resources. And I’m sure that a continent like Africa is almost ready to gather the same potential as Asia. DO YOU THINK A COLLECTOR FEELS MORE REASSURED WHEN HE BUYS AT AUCTIONS THAN FROM A DEALER? DO YOU THINK THAT AUCTION HOUSES ARE A THREAT FOR DEALERS, WHO WILL FIND MORE AND MORE DIFFICULT TO MAKE A LIVING? As the saying goes, the more the merrier. A market needs pace and rhythm. Dealers trade with and alongside auction houses. Many collectors prefer the private relationship with specific dealers rather the public exposure of an international auction. So far, auctions houses have enlarged the market’s audience and it benefits all of us. It has also raised prices. We all need to adapt and find our ways. DO YOU THINK THE ROLE OF A DEALER SHOULD BE TO SHOW CLIENTS NEW OBJECTS TO BUY? IN FACT IT’S THANKS TO DEALERS’ RESEARCHES THAT WE DISCOVERED CERTAIN AREAS Indeed it’s our job. The world is wide but limited and many fields have been comprehensively opened and shown. We are dealing in a finite world of objects and exploration limits have raised lately. Nevertheless, I have always tried to exhibit scarce areas such as Sunduk or Chu sculptures, excavated gold jewelry and all in a modern way. Only dealers bring out new subjects in their gallery through exhibition sustained by research and publication. Who else would take that risk? DO YOU THINK THAT THIS MARKET IS GOING TO BE MORE AND MORE STRUCTURED THANKS TO ALL THE NEW DOCUMENTATION COMING OUT AND ITS WIDER DIFFUSION?
The market is changing slowly but surely and dealers are key players in it, actually with every publication, exhibition or show we set up. I enjoy the work of some colleagues pushing and mixing aesthetics limits in their shows, reuniting dealers with museum curators in common exhibitions, or the publishing of studies like Anna Bennet’s the archeogical scientitst or Anne Richter’s both working on antic and hardly known Asian gold jewelry. It spreads knowledge, good taste and opens minds too. CAN YOU IMAGINE DOING ANYTHING ELSE FOR A LIVING? IS THIS A BUSINESS YOU RETIRE FROM? I had other professional activities before becoming a full-time arts dealer… I love my present work. WHAT ARE FOR YOU THE TWO OR THREE GREATEST EXHIBITIONS AND WHICH BOOKS DO YOU CHECK MOST OFTEN? Among the latest exhibition I recall the excellent “Masked Warriors” organized by Bas Verberk at the SieboldHuis museum in Leiden, or the “Gold of the Gods from Java” organized in the World Museum in Rotterdam. My main reference is Karsten Sejr Jensen’s encyclopedic work the “Kris Book”. The best study on the subject so far… ;) IS THERE ANY OBJECT IN YOUR COLLECTION THAT YOU LIKE MORE THAN OTHERS? Each of my pieces have their charm and expressive ways, I love them all. DO YOU THINK THAT SOMETIMES THERE ARE OBJECTS THAT ARE SPECIAL TO YOU AND THAT THERE IS A SORT OF MAGIC IN THE WAY THEY COME YOUR WAY? Absolutely. There’s no such thing as chance or luck. I mean, when you look, call, hunt objects, I believe they appear and find their way to you. And you should never pass on them once if you are really interested. Most of the time you only get one opportunity at a really good piece. DID YOU TRAVEL IN AFRICA/OCEANIA? Yes I do travel a lot, but mostly to South East Asia where most my objects come from and since recently start to travel back to. WHAT IS YOUR DREAM OBJECT, THE PIECE THAT SHOULD NOT BE MISSING IN YOUR IMAGINARY MUSEUM? There are some sumptuous Javanese 10th century gold jewelry, unbelievably gorgeous and very inaccessible. Still my dream piece is surely a fantastic surprise yet to be discovered. THE LAST QUESTION. IF THERE WAS A FIRE IN THE HOUSE, WHAT IS THE FIRST THING YOU WOULD SAVE? My eldest daughter would ask you to touch your head to conjure it from happening. But if it did happen probably the Senoufo bronze cast, my first piece, so I can start again…
“Arno Declerq important designer, Belgian talent shows a strong identity influnced by his passion for brutalism and tribal art” Didier Claes
ARNO DECLERCQ Arno Declercq; Belgian designer and art dealer, born in 1994, who makes bespoke objects with passion for design, atmosphere, history and craft. Arno grew up in a family with parents who like to work with beautiful brands and objects. His father studied at the Royal Academy of Arts Fashion Department, he worked for Bikkembergs and made his own fashion brands, but has also collected tribal arts for more than 20 years. His mother, who worked with his father from the beginning, bought a shoe store in 2010 where they sold brands as Rick Owens, Ann Demeulemeester, Maison Martin Margiela, ... With the interest in beauty he learned from his parents, Arno studied interior design, after learning a lot about materials and with great knowledge of history he designed interiors and opened his own gallery for ethnographic art and design. After a year he closed the gallery and started his own brand of rough bespoke items which he launched in May 2017. The collection has come to the idea that there are too few interiors where they no longer have the big and static vases and candlesticks that the people had in big houses over 100 years ago. By focusing on architecture, ancient arts and design, after war buildings, defense buildings (bunkers and fortresses) and tribal arts. Each piece is unique because it is entirely handcrafted by him. Made of tropical hardwood called Iroko this he discovered after one of his many trips to West Africa interested in voodoo arts. In these strange tribal arts, the wood “Iroko” is used in many objects, according to their culture, the ancestors lives in these trees, and they also call this tree “the king of the forest”.
COLLAB
Focusing more on tribal arts you can find very basic shapes which has been used in modern furniture for many years. Arno tries to combine these shapes with forms and materials which stand for his name. Furniture line called Senufo stool, side and coffee tables by using the bomb shaped burned wooden legs combined with patinated steel to create bespoke objects and furniture. Or Vases and small stools completely covered with little studs as we see with the Ngombe stools. By treating these objects through the Yakusugi technique or another mentioned “Shou Sugi Ban” an ancient Japanese technique where the objects are burned to protect the wood from weathering and subsequently fixed black wax to get a patina look as long as possible. Each year there are two collections made to keep the pieces exclusively and are presented in Milan during Salon Del Mobile where Arno rends a gallery close to Place Duomo to showcase his latest collection along with African art. Coming October the 6th collection will be launched partly made in Sand Casted bronze. All made in Belgium, Including Senufo stools, Mancala inspired trays and many more. The Jewelry, called “DAAD”, is designed by me and made by Aurélie Lanoiselee. She is well know for working for Haute Couture clients as Dior, Chanel, Givenchy, Valentino, ect. By making broderie and textile creations. Aurélie also won several prestigious prices including the “Prix Liliane Bettencourt pour l’intelligence de la main 2009” In these jewelry we worked with basic but also high-end materials but mostly inspired by the Mossi and Dogon. Thanks to this collection which is world wide presented in over 30 stores and galleries, Arno is allowed to invest in other arts too but specifically in African “art” from time to time He try to find a piece with present nicely with his own collection of furniture. Recently he bought a Tiwara at Didier Claes’s gallery and thanks to Tribal art Society, Arno and Didier got in contact to collaborate by presenting top quality African art pieces and the furniture by having a photoshoot which leaded to a result of stunning pictures which show perfectly how Arno sees how to combine ancien arts with modern furniture. A pleasant collaboration with carefully selected masterpieces and fantastic people which hopefully will bring more in the future.
Photo
Légende Provenance Collection privée, France Statue Baoulé République deBamana Côte d’Ivoire Cimier tiwara Bois, Mali perles Bois, fibres végétales Provenance Collection privée, France Provenance Collection privée, Allemagne Cimier muzidi tiwara Bamana Statue Bembe Mali RDC fibres végétales Bois, pigments, fibres végétales, boutons, tissus Provenance Collection privée, Allemagne Provenance -Statue Collecté in situ par Gilbert COURTOIS muzidi Bembe et Bruno PAILLET, 1959 RDC -Bois, Collection Girard REYDET, France pigments, fibres végétales, boutons, tissus Masque deangle Dan Provenance de Côte d’Ivoire République - Collecté in situmétal par Gilbert COURTOIS Bois, pigments, et Bruno PAILLET, 1959 - Collection Girard REYDET, France Provenance Ex collection Gerard WAHL-BOYER, France Masque deangle Dan République Côte d’Ivoire Statue mupodeBamileke Bois, pigments, métal Cameroun Bois Provenance Ex collection Gerard WAHL-BOYER, Provenance France Collection privée, France Statue mupo Bamileke Fétiche nkondi Kongo-Vili Cameroun Démocratique du Congo République Bois pigments, fibres végétales, métal, Bois, verre Provenance Collection privée, France Fétiche nkondi Kongo-Vili République Démocratique du Congo Bois, pigments, fibres végétales, métal, verre
Caption Provenance Private Collection, France Baule Figure Republic of CôteCrest d’Ivoire Tiwara Bamana Wood, pearls Mali Wood, vegetal fibers Provenance Private Collection, France Provenance - Private Collection, Germany Tiwara Bamana Crest muzidi Bembe Figure Mali Democratic republic of Congo vegetal fibers Wood, pigments, vegetal fibers, buttons, clothes Provenance - Private Collection, Germany Provenance -muzidi Collected in situ by Gilbert Bembe Figure COURTOIS and Bruno PAILLET, 1959 Democratic republic of Congo -Wood, Collection Girard REYDET, pigments, vegetal fibers,France buttons, clothes deangle Dan Mask Provenance Republic of Côte d’Ivoire - Collected in situmetal by Gilbert Wood, pigments, COURTOIS and Bruno PAILLET, 1959 - Collection Girard REYDET, France Provenance - Ex collection Gerard WAHL-BOYER, France deangle Dan Mask Republic of CôteFigure d’Ivoire mupo Bamileke Wood, pigments, metal Cameroon Wood Provenance - Ex collection Gerard WAHL-BOYER, Provenance -France Private Collection, France mupo Bamileke Figure nkondi Kongo-Vili Fetish Cameroon republic of Congo Democratic Wood pigments, vegetal fibers, metal, Wood, glas Provenance - Private Collection, France nkondi Kongo-Vili Fetish Democratic republic of Congo Wood, pigments, vegetal fibers, metal, glas
ARNODECLERCQ CollectionAD5/2019 The 5th collection was launched in April and the latest new collection will be launched in 2 months. If you wish to receive the complete catalogue or purchase one of these objects please contact info@tribalartsociety.com or info@arnodeclercq.com All prices are including 21% VAT and inclusive worldwide transport (lead-time / production time on request) www.arnodeclercq.com info@arnodeclercq.com
Senufo Side Table Iroko Wood and patinated steel Ref. code AD5/SST.19 30 cm L x 30 cm W x 45 cm H 1.990 euro A-typical round table Iroko wood and glass Ref. code: AD5/ART.19 Top L 160 cm x W 140 cm x H 1,2 cm Base L 94 cm x W 80 cm x H 73 cm 9.990 euro Pot Vase nails Iroko Wood and steel nails Ref. code AD5/PVN.19 14 cm L x 14 cm W x 40 cm H 1.350 euro Four Legs Stool wood Iroko wood Ref. code: AD1/FLS.17 34cm L x 34cm W x 50 cm H 1.075 euro Senufo Ottoman Iroko wood and sheepskin by Carine Boxy Ref. code: AD5/SO.19 L 45 cm x W 45 cm x H 40 cm 2.750 euro DAAD by ARNODECLERQ n°001 Rhodium plated 925 sterling silver, leather, swarovski pearls, silk and wood. Ref. AD/DAAD001.19 5.160 euros
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 Figure Dogon Mali Wood Height: 16,5 cm Provenance: Old collection Pierre Harter Sale Ricqles 21 June 1995 Private collection, France Price: 2.200 euros
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
DOGON FIGURE
02 Figure Dogon Mali Wood Height: 24 cm Price: 1.800 euros
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
DOGON FIGURE
03 Figure Dogon Mali Wood; pigments Height: 22 cm Provenance: Swiss Private collection, ZĂźrich Price on request
Object presented by: Patrik, Katrin et Theodor FrĂśhlich M.: + 41 44 242 89 00 E.: patrikfroehlich@swissonline.ch
This very elegant and highly abstract Dogon sculpture will be on view at 3, rue Visconti during Parcours des Mondes from September 10th to September 15th.
BAMANA MASK
04 Figure Bamana Mali Wood Price on request
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
DOGON MASK
05 Walu mask Dogon Mali 20th Century. Wood, white polychromy, fibers and rope Height: 74,5 cm Provenance: Old French collection Price: 5.500 euros
Object presented by: Laurent Dodier M.: + 33 6 08 22 68 15 E.: laurentdodier@wanadoo.fr
Mask with a rectangular face divided into two deep cavities where the openings of the eyes are cut out. Two erect horns overhang the mask. This mask refers to a mythical episode, the one where the antelope is charged by the Amma God to protect the sun against the fox. The Fox, tired of his unsuccessful attempts, decides to dig holes in the ground to kill the antelope. In the ritual dance, the bearer of the mask holds a stick and mimics the seed of seeds. Dance mask belonging to the society of Awa masks, society whose role is to restore the balance of worlds.
LOBI FIGURE
06 Figure Lobi Burkina Faso Wood Price on request
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
BOBO MASK
07 Nyanga mask Bobo Burkina Faso 20th Century. Wood, polychromy black and white Height: 61 cm Povenance: Collected in the village of Kouroumani in the years 1954-55 Old private French collection Price: 6.500 euros
Object presented by: Laurent Dodier M.: + 33 6 08 22 68 15 E.: laurentdodier@wanadoo.fr
Large helmet mask representing the hippotrague. The very long muzzle curls forward, the mouth is open, the forehead is bulging. The face is engraved with many small triangles. Rare, this mask has no horns but is surmounted by two beautiful ears. These Nyanga Helm masks were worn by the dancers who accompanied the Nwenka mask wearers.
ATTIE FIGURE
08 Figure Attie Ivory Coast Wood Height.: 28 cm Provenance: Old collection J.P. Delcourt, 1980 Private collection, France Price on request
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
BAULE SCULPTURE
09 Blolo bian sculpture Baule Ivory Coast Wood Early 20th Century Heigth: 34 cm Provenance: Old private Collection, Spain. Price: 3.800 euros
Object presented by: David Serra T.: +34 (0) 667525597 E.: galeria@davidserra.es
MAOU MASK
10 Komo mask Maou Touba region, Ivory Coast 20th Century Wood with sacrificial patina Height.: 80 cm Provenance: Ex. Collection of the Embassador of France Jean Lecannelier, Blainville Price: 18.000 euros
Object presented by: Laurent Dodier M.: + 33 6 08 22 68 15 E.: laurentdodier@wanadoo.fr
Great and formidable mask representing a monster placed at the service of the creative divinity of the world. This mask is distinguished by the abundance of its magic supplements that must increase its power to ward off adverse forces.
DJIMINI HEDDLE PULLEY
11 Heddle pulley Djimini Ivory Coast Height: 20 cm Provenance: Ex collection Pierre & Claude Vérité Ex Christie’s Paris, November 2017 Ex private collection, New York Price: 4.000 euros
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
This wood-carved heddle pulley features an anthropo-zoomorphic face. This sculpture is distinguished by its large size, the quality of its carving and its fine-aged, deep brown patina. The most common weaving technique in West Africa is to use cotton strips about 15 centimeters wide and sew them together to make clothes. Weaving is a male job, while cotton spinning is done by women. As stated by the Metropolitan Museum of Art, used on the traditional narrow-band loom, heddle pulleys are functional objects used to ease the movements of the heddles while separating the warp threads and allowing the shuttle to seamlessly pass through the layers of thread. Scholars have suggested that the prominent display of pulleys, hanging over the weaver’s loom in the public place, afforded artists their best opportunity to showcase their carving skills, in the hope to attract commissions for figures and masks. This pulley is part of our selection at Parcours des Mondes, 8 rue des Beaux-Arts, Paris, 10-15 September.
ASHANTI DOLL
12 Akwaba fertility doll Ashanti, Akan Ghana Height: 28,5 cm Provenance: Ex collection Laurent Dodier Price: 2.800 euros
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
The origin of Akua’ba dolls derives from the mythical story of a woman named “Akua” who could not get pregnant. She went to a local priest/ soothsayer who commissioned the carving of a small wooden doll. She carried and cared for the doll as if it were her own child. Soon the people in the village started calling the figure “Akua’ba” - meaning “Akua’s child”. Akua soon became pregnant and her daughter kept the doll as she grew up. In terms of symbolism, the flat, disk-like head represents the Akan ideal of beauty. The ringed neck, depicting rolls of fat, are symbols of beauty and prosperity. The small scars seen on the face of the akua’ba were made for medicinal purposes as protection against convulsions. This fertility doll is part of our selection at Parcours des Mondes, 8 rue des Beaux-Arts, Paris, 10-15 September.
ASHANTI DOLL
13 Akuaba doll Ashanti Ghana Wood Height: 32 cm Provenance: French private collection Price: SOLD
Object presented by: Joaquin Pecci T.: + 32 477 43 94 12 E.: joaquin.pecci@skynet.be
IDOMA MASK
14 Mask Idoma Nigeria Wood Height.: 27 cm Price: 3.500 euros
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
YORUBA “SHANGO”
15 Figure oshe shango Yoruba Nigeria Wood, pigments, metal Height: 23 cm Provenance: Private collection, Belgium Price on request
Object presented by: Didier Claes M.: +32 4 77 66 02 06 E.: afriquepremier@yahoo.fr
YORUBA SHANGO
16 Shango Yoruba Nigeria Wood Height: 52 cm Provenance: Adrian Schlag, Brussels Price: SOLD
Object presented by: Joaquin Pecci T.: + 32 477 43 94 12 E.: joaquin.pecci@skynet.be
YORUBA ALTAR
17 Altar Owo or Ijebu Yoruba Nigeria Copper alloy Estimated period: 18th Century Heigth: 12 cm - Diam.: 23 cm Provenance: Abdulaye Ousmane, Belgium Price on request
Object presented by: David Serra T.: +34 (0) 667525597 E.: galeria@davidserra.es
BAMILEKE MUPO
18 Figure mupo Bamileke Cameroon Wood Height: 10 cm Provenance: Private collection, France Price on request
Object presented by: Didier Claes M.: +32 4 77 66 02 06 E.: afriquepremier@yahoo.fr
BAMILEKE “MUPO”
19 Mupo sculpture Bamileke Cameroon Wood Height : 15 cm Provenance: Old French collection Price: SOLD
Object presented by: Joaquin Pecci T.: + 32 477 43 94 12 E.: joaquin.pecci@skynet.be
TSOGHO GONG
20 Gong Tsogho Gabon Height.: 41 cm Provenance: Yann Ferrandin, Paris Private collection, France Price: 4.500 euros
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
KUSU FIGURE
21 Figure Kusu D.R. of Congo Wood Height.: 28 cm Provenance: Private collection, Belgium Private collection, France Price: 3.800 euros
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
BENALULUA FIGURE
22 Figure Benalulua D.R of Congo Wood Height.: 17 cm Price on request
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
PENDE CUP
23 Janus cup Pende D.R. of Congo Wood Height.: 25 cm Provenance: Old collection of a Belgian colonial administrator Private collection, France Price: 1.000 euros
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
HOLO FIGURE
24 Figure Holo D.R of Congo Wood Height.: 34 cm Provenance: Pierre Dartevelle, Brussels Collection privĂŠe, Belgium Price: 6.500 euros
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
KUSU FIGURE
25 Figure Kusu D.R. of Congo Wood Height.: 41 cm Price: 2.800 euros
Object presented by: Pablo Touchaleaume M.: +33 (0)6 89 90 75 70 E.: pablo.touchaleaume@hotmail.fr
MBALA FIGURE
26 Female figure Mbala Democratic Republic of the Congo Height 29 cm Provenance : Ex collection David Serra, Barcelona Price: 7.500 euros
As stated by the Smithsonian National Museum of African Art in Washington DC, Mbala figures were used in the event of war, great disputes, bad harvests, epidemics, lack of game or natural disasters. According to 1915 fieldwork, the most important Mbala sculptures were called pindi and were always carved in pairs, a male and a female (or maternity) figures. This Mbala figure is part of our selection at Parcours des Mondes, 8 rue des Beaux-Arts, Paris, 10-15 September.
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
TANZANIAN CALABASH
27 Calabash Kwere or Zaramo Tanzania Wood, pumkin, glass beads and natural fibers 20th Century Heigth: 17,5 cm Provenance: Private Collection, France. Price: 800 euros
Object presented by: David Serra T.: +34 (0) 667525597 E.: galeria@davidserra.es
YAMI PECTORAL
28 Pectoral Yami people Botel Tobago Island, Taiwan Late 19th Century Wood, iron, pigment Width: 25 cm Provenance: Field collected by the American anthropologist Kilton Stewart in the mid-1930s. Price on request
Object presented by: Joe Loux M.: +1 505 695 6626 E.: joe@joeloux.com
YAMI SCABBARD
29 Scabbard for a dagger or takkurus Yami people Botel Tobago Island, Taiwan Late 19th Century Carved wood, rattan cord Length.: 27 cm Provenance: Field collected by Kilton Stewart in the mid-1930s Price on request
Object presented by: Joe Loux M.: +1 505 695 6626 E.: joe@joeloux.com
YAMI SWORD
30 Sword with Scabbard Yami people Botel Tobago Island, Taiwan Late 19th-Early 20th Century Carved wood, iron blade, fibre cord Length.: 61 cm Provenance: Field collected by the American anthropologist Kilton Stewart in the mid-1930s. Price on request
Object presented by: Joe Loux M.: +1 505 695 6626 E.: joe@joeloux.com
SAMAL SUNDUNK
31 Sunduk, Soul Carrier, Wooden female marker from the Samal population in the Sulu archipelago. Jolo Island, Philippine 19th Century or earlier Height: 93 cm Published in “SUNDUK” N°18 p23 – spring 2003 Price: 6.000 euros Copyrights Bart van Bussel
Object presented by: Cédric Le Dauphin M.: +33 6 07 82 95 08 E.: c.ledauphin@gmail.com
INDONESIAN KERIS HANDLE
32 Keris Handle Madura, Indonesia Marine ivory 18th- 19th Century Height: 9 cm Price: 2.200 euros Putrasatu, representation of Bhima, the Pandava Hero, son of Vayu, hero of the Mahabharata. The human form is hidden into a combination of flowers Stalks, laces and interlaces.
Object presented by: CĂŠdric Le Dauphin M.: +33 6 07 82 95 08 E.: c.ledauphin@gmail.com
BALINESE RING
33 Balinese gold ring with 3 rubies Bali, Indonesia, 19th Century. 6g / Size US 3/ Ø 14 mm / N°4 Price: 3.000 euros Beautiful high carat gold ring with 3 pink rubies from Indonesia. Each cabochon stone is framed in gold casing lined with a twisted gold wire and surrounded by an extremely fine radiant crown of the same precious metal. The three cases are fixed on
Object presented by: Cédric Le Dauphin M.: +33 6 07 82 95 08 E.: c.ledauphin@gmail.com
SEPIK JAR FRAGMENT
34 Jar fragment Damarau Chambri lake, Middle Sepik, Papua New Guinea, Melanesia Terracotta Height: 17,3 cm Price on request
Object presented by: Jean-Edouard Carlier M.: +33 (0)6 74 53 78 79 E.: contact@voyageursetcurieux.com
SEPIK FIGURE
35 Ancestor figure Lower Sepik, Papua New Guinea, Melanesia Wood, pearlshell, resina, shell and pigments Height: 27,2 cm Provenance : Collected by Dr. Fred Gerrits in 1963 Price on request
Object presented by: Jean-Edouard Carlier M.: +33 (0)6 74 53 78 79 E.: contact@voyageursetcurieux.com
BISMARCK CANOE PROW
36 Canoe prow Bismarck Archipelago Northern New Ireland 19th Century Height: 35 cm Provenance: Collected by Captain Frederick John Mann (1819-1907), HMS Nelson in 1894 Ex collection Gallery Stephen Kellner, Sydney Ex collection Dr Hugh Gallagher, Sydney acquired from the above in 1973 Ex collection Christopher & Anna Thorpe, Sydney Published in : Gallery Stephen Kellner, 1970, Plate 5/448 Price on request
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
Passing at sea near the Tabar Islands in April 1643, an artist on board Abel Tasman’s ship drew a canoe with three men in it. One was blowing into a conch shell, the two others had paddles, and one could make out a float for shark fishing. The prow and stern were ornamented with carvings representing stylized, grimacing heads. The three men had singular headdresses, very short over the temples, evoking the crests of the masks of the Tatanua dance. This was the Western world’s first contact with the art of New Ireland. As stated by Dr. Jean-Philippe Beaulieu in the new publication “Poésie Féroce”, the artistic tradition of prows decorated in carved wood lived on into the 1930s in the whole of New Ireland, but with stylistic differences depending on the region. These prows were fashioned by sculptors who also made the Malagan statues and masks, thus we find there the same flamboyant iconography. The superb canoe prow, collected in 1894 before the colonial era is remarkable, and comes from the north of New Ireland. The stylized head is represented by only a few elements, such as the mouth – from which a long pointed tongue biting a fish projects – and eyes encircled by a snake. The head fuses with a bird with eyes made of Turbo opercula, while another bird is placed at the back as a sentinel. These two birds are probably drongo, frequently seen represented on Malagans. Birds, snakes, fish and long feathers intertwine delicately. This prow is very similar to the one found today in the Sydney Museum, inv. B7283, which was collected on the island of Simberi (Tabar archipelago) and acquired in 1885. Only prows collected in the 19th century, before the colonial era, demonstrate this exuberance and refinement. This canoe prow is part of our new exhibition for Parcours des Mondes: Ferocious Poetry Ancient Arts of New Ireland View the exhibition catalogue: http://www.galerieflak.com/ poesie-feroce/
“MATUA” MASK
37 Matua mask Bismarck Archipelago Tabar Islands or central New Ireland, 19th Century Height: 111 cm Provenance: Ex German museum collection (Leipzig?), inv. #80294 Ex collection Scott Dugley, Seattle Ex collection Loed van Bussel, Amsterdam Ex collection Kevin Conru, Brussels Ex collection Michel & Catherine Andrault, Paris Ex private collection, Paris Price on request
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
Such heavy masks in carved and painted wood are known by the name of Matua or Vanis. No less than statues, they are Malagans and their creation must adhere to the same strict corpus of rules. Their role is important, since their arrival marks the beginning of the last stage of the funeral ceremony. They lead the wearers of Ges masks at sunrise to clean the village, collect shell money and chase away errant spirits of the dead. In the village, they dance to the lamentations and weeping of the whole community. They then lift the taboos imposed on the community and open access to the funeral enclosure where the last phases of the ceremony take place. The masks are then arranged for display next to the Men’s House. Unlike Malagan statues, masks can be used several times. The extraordinary lacey wooden carving with intertwined birds and flying fish of the mask shown here is typical of masks of the Verim sub-tradition, one that is very present in Tabar but also in central New Ireland. With its exuberance and extraordinary creativity, the present mask can be counted among the most remarkable Vanis masks known. Masks of this type and high quality were seen as early as 1895 in publications by Meyer and Parkinson. They were essentially collected in the 19th century. This mask is part of our new exhibition for Parcours des Mondes: Ferocious Poetry Ancient Arts of New Ireland View the exhibition catalogue: http://www.galerieflak.com/ poesie-feroce/
“TATANUA” MASK
38 Tatanua mask Bismarck Archipelago New Ireland Late 19th – Early 20th Century Height: 32 cm Provenance: Ex collection Robert Rousset (19011981), acquired between 1920 & 1930 By descent Price on request
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
Tatanua masks are among the most emblematic objects that exist in Oceanic art. They can be found throughout the northern region of New Ireland. They are always characterized by a face carved in a very stylized manner with a wide jaw, motifs painted in red, yellow and black, and coiffed with a large crest in native fibers. This headdress probably evokes mourners who shaved both sides of their heads. There is great diversity to be found among them in museums and private collections. They were important to ritual life, marking the closing of the cycle of a Malagan funeral ceremony for an important chief by lifting the final taboos. These masks in general were used in groups dancing to complex choreography. Steps were light, and the music rather evocative of bird song. In conclusion, Tatanua masks are not Malagans, and were used in dances performed before the whole village. Nevertheless, they are one of the components of important Malagan ceremonies, being danced just before final exchanges between clans. This Tatanua mask is part of our new exhibition for Parcours des Mondes: Ferocious Poetry Ancient Arts of New Ireland View the exhibition catalogue: http://www.galerieflak.com/ poesie-feroce/
“KAPKAP” ORNAMENT
39 Kapkap ornament New Ireland 19th Century Diam: 6 cm Provenance: Ex collection Jef Van Der Straete, Brussels Ex Christie’s Paris, 11 déc. 2007, lot 380 Ex private collection, France Price: 5.000 euros
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
Kapkap were used as adornments and served as a sign of social status. Kapkap were worn on great occasions: festivities, rituals or war expeditions. They could be worn as a pendant, as hair or forehead adronements or around the waist. The highly refined example shown here came from the celebrated collection of Jef Van Der Straete and appeared on the back cover of Christie’s catalog in 2007. This Kapkap is part of our new exhibition for Parcours des Mondes. Ferocious Poetry Ancient Arts of New Ireland View the exhibition catalogue: http://www.galerieflak.com/ poesie-feroce/
SOLOMON BOWL
40 Food bowl Malaita, Solomon Islands, Melanesia Wood Length: 42 cm Price on request
Object presented by: Jean-Edouard Carlier M.: +33 (0)6 74 53 78 79 E.: contact@voyageursetcurieux.com
TLINGIT RATTLE
41 Raven rattle Tlingit Northwest Coast, Canada 19th Century Provenance: Ex collection William Downing Webster (1868–1913), London, inv 3692.L Ex collection Yves Berger (1931-2004), Paris Price on request
Object presented by: Julien Flak M.: +33 6 84 52 81 36 E.: contact@galerieflak.com
According to Allen Wardwell (see Tangible Visions, The Monacelli Press inc., New York, 1996), the rattle is a very important piece of shamanic equipment along the entire Northwest Coast. Its sound provided rhythm for songs, dances and chants, and attracted spirits to the séances. Wherever it was used, a supernatural presence was thought to be in attendance. Raven rattles, such as the present example, were generally made by the Tlingit, and are the best known form of Northwest Coast rattle. Raven rattles were used by wealthy families in secular ceremonies, although a few were found in shaman’s graves. The use of «chief ’s rattles» proclaimed the shaman’s high social rank to his public. It should also be remembered that raven taught both shamans and witches the secrets of their crafts, and it would therefore seem logical that shamans would employ a rattle depicting him during their performance. Most specialists believe that the protruding tongue held in the beak of the bird signifies a communication or transfer of power. This raven rattle is part of our selection at Parcours des Mondes, 8 rue des Beaux-Arts, Paris, 10-15 September.