Issuu

THE SHAPE OF THINGS FALL 2026

ART AND ANTIQUES FROM AFRICA, OCEANIA AND THE AMERICAS

www.jacarandatribal.com dori@jacarandatribal.com T +1 646-251-8528 New York City, NY 10025

THE SHAPE OF THINGS FALL 2026

Across cultures and time, people have shaped materials

decorated paddle from the Austral Islands in Polynesia.

into objects of extraordinary presence. Made for ceremony

These are just a few examples of the remarkable diversity

or daily life, these objects may have served profoundly

of objects in the collection, each distinguished by its own

different purposes, yet when brought together, striking

sculptural character and cultural significance.

visual relationships emerge.

The South African ceramics included here extend

This catalog considers them primarily as sculpture.

this exploration across generations. Made by master

None depicts the human figure. Their power lies in the way

potters, they range from historical works dating to the

they occupy space and in the choices their makers made

mid-twentieth century to vessels by living contemporary

in shaping them. A vessel may swell outward and narrow

artists. Particularly meaningful is the inclusion of works

abruptly at its opening; a headrest may transform a practical

by mothers who are no longer living alongside those of

purpose into an elegant sculptural construction.

their daughters, who have carried on and enriched the

These affinities should not obscure their differences.

traditions they inherited. Together, these vessels reveal not

Similarity in appearance does not imply similarity of

only continuity and invention, but the enduring legacy of

meaning. Each object emerged from a particular culture

knowledge passed from one generation to the next.

and tradition, with meanings and associations specific

The works gathered here remain firmly rooted in the

to the people who made and used it. What we see today

cultures that produced them. At the same time, seeing them

primarily as sculpture may originally have held meanings

together allows us to appreciate qualities that transcend

that are no longer immediately apparent to us.

their customary categories and to discover visual affinities

Yet looking at these objects in this way offers another perspective. Freed from conventional classifications, we can more readily appreciate how a maker responded to material and function while creating something of remarkable visual

where we might not expect them. Across great distances of geography and time, unexpected relationships in form emerge. We hope you will enjoy this selection of objects.

and sculptural presence. Among the works represented are a finely carved ipukasuy from Japan, Inuit goggles, and an intricately

Dori & Daniel Rootenberg new york city, november 2026

CEREMONIAL PADDLE AUSTRAL ISLANDS, FRENCH POLYNESIA First half 19th century Wood Height: 41 in, 104 cm PROVENANCE

Julius Carlebach, 1940’s. Carlebach was a prominent New York

both aesthetically and culturally within Oceanic art history.

art and antiques dealer whose gallery played an important

Though widely called ‘paddles,’ these objects are not

role in the development of the American market for traditional

functional paddles. They are ‘paddle shaped,’ but their sizes

African, Oceanic, and Indigenous North American art during

are too extreme; their shafts are too weak, and they are

the mid-twentieth century. Having emigrated from Germany

thoroughly unsuitable for use as paddles. Consequently, it

to the United States in 1937, he established his gallery in New

has been assumed that they were emblems of rank or status,

York in 1939, subsequently moving to Madison Avenue in 1958.

for ceremonial rather than functional use. But an exhaustive

Carlebach occupied an important position in the cultural milieu

survey of the historical sources has confirmed that there

of postwar New York, serving a discerning clientele of collectors,

are no known eyewitness accounts of their use or function.

artists, and intellectuals. His associations included the Surrealist

No local name is recorded for them, anywhere, before 1890,

artist Max Ernst and other figures drawn to the artistic and cultural

though they are sometimes called ‘hoe‘ after the Tahitian

significance of non-Western objects.

word for a paddle.

Private New York collection

Most Austral Island paddles are dated roughly between 1820 – 1840, probably made on the Island of Raivavae, and are generally described as made for trade items, with their

Ceremonial paddles from the Austral Islands are revered

original use being treated as something of a mystery. There

for their sharply delineated motifs and symmetrical

are good grounds for asserting however that few if any

forms, representing some of the finest Oceanic artistry.

‘paddles’ were made and exported after 1842. Firstly, the

Comparable examples can be found in the British Museum

population decline was extreme, particularly among the

and prominent private collections, marking them as prized

adults. By 1840 the total population on Tabuai had fallen to

artefacts among collectors of tribal and ethnographic works.

250 and on Raivave to 360. Actual carvers would have been

The elaborate geometric carving is a hallmark of Austral

even fewer. Moreover, after the French took over Tahiti in

craftsmanship, distinguishing these paddles as significant

1842, trade visits to the Austral Islands declined.

c e r e m o n i a l pa d d l e

MATHUNZI ENTABA Nicholas Sithole Terracotta clay, hand-built, carved, burnished and smoke-fired Height 15 3/4 in, 40 cm; Diameter 11 3/4 in, 30 cm

Born in Mkhondo, Mpumalanga, in 1964, Nicholas Sithole began working with clay as a child, inspired by his maternal grandmother. For nearly three decades, he produced vessels for other potters before establishing his own artistic identity in 2007. Encouraged by ceramic artist Magdalene Odundo, Sithole developed a distinctive sculptural language combining traditional Zulu ceramic knowledge with bold contemporary invention. Known for his exacting standards, he destroys works that fail to meet his expectations, making surviving examples particularly valued. His ceramics are represented in the Pretoria Art Museum, the Nelson Mandela Museum and private collections in South Africa and the United States.

m at h u n z i e n ta b a

PRAYER STICK IKUPASUY AINU PEOPLE, HOKKAIDO, JAPAN 19th century Wood Height: 11 ½ in, 29 cm PROVENANCE

Private New York collection

An elegantly carved wooden ikupasuy, the ceremonial

terminal and carefully balanced composition lend the object

stick used by the Ainu people of northern Japan in ritual

a striking sculptural presence.

offerings and prayers. The elongated, slender form is

An important ritual implement in Ainu spiritual life, the

embellished with intricate geometric ornamentation,

ikupasuy served as an intermediary through which prayers

including bands of scale-like triangular motifs alternating

and libations were offered to the kamuy, the spiritual

with elongated chevron patterns. A raised, rounded

beings associated with the natural world. Both a functional

rectangular panel at the center provides a distinctive focal

ceremonial object and an expression of Ainu woodcarving

point, its incised design echoing the surrounding decorative

artistry, this example is distinguished by its refined

vocabulary. The rich, dark, lustrous surface accentuates

geometric decoration, sculptural detailing and deeply

the depth and precision of the carving, while the tapered

patinated surface.

p r ay e r s t i c k i k u pa s u y

THREE ENGRAVED RITUAL OBJECTS CHURINGA ABORIGINAL PEOPLES, CENTRAL AUSTRALIA Late 19th century / early 20th century Wood A: Height: 13 in, 33 cm B: Height: 20 ½ in, 52 cm C: Height: 12 ½ in, 32 cm PROVENANCE

Various private collections, United Kingdom

An exceptional group of three finely engraved wooden

imposing, presents a strikingly monumental arrangement

churinga, distinguished by their elongated, elegantly

of concentric circles. On one face, five principal circular

tapering forms and intricate arrangements of concentric

motifs are distributed vertically along its elongated surface,

circles, sinuous lines, and geometric motifs. Associated with

separated by groups of gently curving parallel lines. The

the ceremonial traditions of Aboriginal peoples of Central

reverse features three more widely spaced concentric

Australia, churinga are sacred objects closely connected to

circles, creating a powerful contrast between the elaborate

ancestral beings, particular places, and the transmission of

composition of the front and the austere geometry of the

spiritual knowledge across generations.

back. The unusually generous spacing of the engraved

The churinga on the left, the narrowest of the three,

elements emphasizes the broad, uninterrupted surface of

displays an elaborate and densely organized composition.

the wood, lending the object a remarkable sense of stillness

A succession of deeply engraved concentric circles extends

and sculptural authority. Its dark, richly worn patina further

along its central axis, interconnected by fine parallel lines

enhances its imposing presence.

and enclosed within a complex network of curving, dotted,

The churinga on the right is distinguished by a more

and arched motifs. The reverse continues this rhythmic

freely arranged and asymmetrical composition. Concentric

arrangement of circular forms, although with a somewhat

circles of varying sizes are distributed across its surface,

more restrained treatment of the surrounding ornament.

with larger circular motifs surrounded by smaller satellite

The precision and density of the engraving, combined with

forms, interconnected by delicate engraved lines. Unlike

the object’s slender proportions and warm reddish patina,

the strictly axial compositions of the other two examples,

give it an almost jewel-like delicacy.

its ornament creates a lively, almost celestial constellation

The central churinga, considerably larger and more

of interconnected forms. The reverse presents a similarly

t h r e e e n g r av e d r i t ua l o b j e c t s c h u r i n g a

intricate vocabulary of circles and connecting lines, but with a looser, more open arrangement. A small perforation near one end may have served for suspension or attachment. Although the engraved motifs of churinga frequently relate to ancestral journeys, sacred sites, and the topographical features of particular territories, their precise meanings are traditionally restricted to initiated custodians and cannot reliably be interpreted from visual examination alone. The concentric circles and connecting lines that characterize these three objects form part of a broader Central Australian visual language in which apparently abstract geometric designs can encode complex relationships between people, country, and ancestral history. Considered together, the three churinga offer a compelling study in the extraordinary diversity of expression achieved within a shared artistic tradition. From the densely worked intricacy of the first example to the monumental restraint of the second and the animated, constellation-like decoration of the third, each demonstrates a distinctive approach to rhythm, balance, and the organization of sacred imagery. Their sculptural elegance and remarkable graphic sophistication reveal an artistic tradition in which the simplest elements—circles, lines, and dots—are transformed into compositions of exceptional visual power.

t h r e e e n g r av e d r i t ua l o b j e c t s c h u r i n g a

ZULU VESSEL JAMIESONS DRIFT, KWAZULU-NATAL, SOUTH AFRICA Artist: Thandiwe Magwaza Terracotta clay. Hand-built, carved, burnished and smoke-fired. Height 12 ½ in, 32 cm; Diameter 13in, 33 cm

Thandiwe Magwaza belongs to the distinguished Magwaza family of potters from KwaZulu-Natal, South Africa. Trained by her mother-in-law, Nginemibile MaShezi Magwaza, she is celebrated for her mastery of qhubuza, a demanding technique in which clay is pressed outward from the vessel’s interior to create intricate raised patterns. Her elegantly proportioned pots, characterized by broad shoulders and tapering bases, combine technical precision with inventive geometric decoration. Her work has been exhibited internationally and is represented in the North Carolina Museum of Art and Die Neue Sammlung, Munich.

z u lu v e s s e l

SEPTUM RING BIPANE PAPUA NEW GUINEA First half 20th century Shell, organic material Height: 3 in, 8 cm; Width 6 in, 15 cm PROVENANCE

Rick Gallagher, New York

In New Guinea, septum rings were worn for much more than decoration. Depending on the cultural group, they could communicate a man’s social standing, mark his transition into adulthood, or symbolize hunting and warrior achievements. Among the Asmat people of southwestern New Guinea, the bipane was a distinctive ornament associated with social standing and respect within the community. Its materials and craftsmanship could contribute to its significance. Museum documentation connects the ornament with successful hunting; in some historical Asmat contexts, it also signified achievement in warfare and headhunting. In several New Guinea communities, septum piercing and wearing particular ornaments were associated with initiation rites. These practices could mark a young man’s passage into adult social responsibilities and recognition.

s e p t u m r i n g b i pa n e

SNOW GOGGLES PUNUK CULTURE, ST LAWRENCE ISLAND, ALASKA 500 to 1000 ce Marine ivory Width: 5 ½ in, 14 cm; Height 2 in, 5 cm PROVENANCE

Jeffrey Myers, New York City

An extraordinary pair of excavated snow goggles from St. Lawrence Island, distinguished by their powerful

bridge suggesting an enigmatic human face. Snow goggles were an essential adaptation to life in the

sculptural presence and richly ornamented surface. Carved

Arctic, where intense sunlight reflected from snow and

as a continuous, gently curved form, the goggles feature

ice could cause debilitating snow blindness. Their narrow

two elongated, almond-shaped eye openings framed by

apertures restricted the amount of light reaching the

concentric incised lines, punctuated by carefully arranged

eyes while preserving sufficient visibility for hunting and

circular depressions. The deeply weathered surface, ranging

travel. On St. Lawrence Island, such objects also provided

from warm reddish brown to lustrous black, reveals the

an opportunity for artistic expression, transforming

effects of prolonged burial and lends the object a remarkable

an indispensable piece of equipment into an object of

sense of antiquity.

considerable aesthetic refinement.

The decoration is particularly compelling. Sweeping,

The present example is especially striking for the

curvilinear engravings encircle each eye opening, creating

tension between its practical purpose and its expressive,

an almost hypnotic interplay of line, rhythm, and symmetry.

almost otherworldly appearance. Its monumental eye

Small drilled depressions, some surrounded by incised

forms, animated surface decoration, and beautifully aged

rings, articulate the surface and suggest the sophisticated

patina exemplify the ability of ancient Bering Sea artists to

ornamental vocabulary associated with the ancient cultures

invest even the most utilitarian objects with extraordinary

of the Bering Strait. Although conceived as a functional

sculptural vitality.

object, the goggles possess an unmistakably masklike

In good condition. Vertical crack to right eye.

quality, their exaggerated eyes and subtly modeled central

snow goggles

ZULU VESSEL OYAYA, KWAZULU-NATAL, SOUTH AFRICA Artist: Nesta Nala Terracotta clay. Hand-built, carved, burnished and smoke-fired. Height 9 ½ in, 23 cm; Diameter 10 in, 24 cm

Nesta Nala (1940–2005) was a legendary South African

and the necked uphiso - is celebrated for its nearly flawless

ceramicist and a foundational matriarch of contemporary

geometric symmetry, highly burnished, glossy jet-black

Zulu pottery. Born in Oyaya in the Thukela Valley of

surfaces meant to honor ancestral spirits and complex

KwaZulu-Natal, she learned the multi-generational art form

geometric relief patterns like the amasumpa (raised clay

at age twelve from her mother, Siphiwe Nala, continuing

nodes).

an ancient maternal lineage that she later passed on to five

Regarded as a pioneering South African art icon, Nala

of her daughters, including Jabulile and Thembi. While

won the FNB Vita Craft Competition (1995), represented

she initially produced utilitarian vessels for local sorghum

her country at the Cairo International Biennale (1994), and

beer ceremonies, Nala single-handedly shepherded the

participated in the Smithsonian Folklife Project (1999). Today,

transition of Zulu ceramics from domestic wares into the

her highly collectible masterworks reside in premier global

global fine art market by the mid-1980s. Her hand-coiled,

institutions, including The Metropolitan Museum of Art, the

pit-fired earthenware - most notably the spherical ukhamba

Art Institute of Chicago, and the Harn Museum of Art.

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SNUFF CONTAINER SOUTHERN AFRICA 19th century Horn Length: 11 in, 28 cm PROVENANCE

Private collection, United Kingdom

An exceptionally elegant snuff bottle carved from horn,

Africa, its feathers used to create the headdresses for

distinguished by its elongated, three-tined extension and

warriors in the Natal Colony and possibly further afield.

subtly anthropomorphic character. The gently swelling,

Snuff-taking was an important social practice throughout

ovoid receptacle, fitted with a small stopper, rises above

southern Africa, and the containers used to hold powdered

three slender, tapering prongs that sweep downward in a

tobacco were frequently objects of considerable artistic

graceful arc. Originally worn in the hair, the object served

refinement. Related horn snuff containers and ear

simultaneously as a practical container for powdered

ornaments are preserved in the British Museum, including

tobacco and an arresting form of personal adornment.

nineteenth-century examples associated with the Zulu

The bottle possesses a remarkable sculptural presence. Its

and neighboring peoples. Particularly relevant is a snuff

rounded upper chamber suggests a human head, while the

container recorded from KwaZulu-Natal in 1897 that the

narrow connecting neck and attenuated prongs evoke an

museum also classifies as an ear ornament.

elongated torso and limbs. This anthropomorphic quality

With its extraordinary economy of form, sinuous

is achieved without explicit figurative carving, emerging

movement, and almost surreal suggestion of the human

instead from the object’s carefully balanced proportions and

figure, this bottle transcends its utilitarian purpose to stand

fluid, organic silhouette. The richly variegated horn, ranging

as a compelling example of southern African sculptural

from warm amber to deep brown and almost black, further

ingenuity.

accentuates its sculptural character. The small round bodies of the finials with their elongated

In fine condition. A handwritten label accompanying the object identifies it as ‘Barotse,’ suggesting an attribution to

‘tails’ bring to mind the long-tailed whydah bird hovering

the Lozi (Barotse) people of the upper Zambezi region in

over the grasslands. It is found in many parts of the

present-day western Zambia, although the precise origin of

southern sub-continent including Lesotho and South

the piece remains unconfirmed.

s n u f f co n ta i n e r

FACE MASK OR BASKET VILI PEOPLES, GABON OR REPUBLIC OF CONGO 19th century Cane fiber Height: 8 ½ in, 21 ½ cm PROVENANCE

Bobbi Hamill, Boston

A rare and enigmatic example of Vili basketry, constructed

ceremonial, the object is distinguished by its unusual form,

from slender, curved wooden or vegetal elements bound

ingenious construction and compelling combination of

with plant fiber to form an open, ovoid framework. Its

structural simplicity and intricate geometric design.

intricate lattice is articulated by a series of diamond-

We know of 6 other examples of this unusual woven

shaped panels, each composed of tightly wound concentric

object. William Oldman lists a similar example in his

coils that create a striking geometric rhythm. The warm

May 1905 catalog. He describes it as a mask of cane for

brown patina, varied tones of the natural materials and

the face, over which is placed a net to protect the painted

irregularities of the hand-worked construction lend the

decoration on the face and also to keep the mosquitos

piece considerable visual character.

off. The Wereldmuseum, Leiden has 2 examples as does

Traditionally described as either a mask or a basket,

the American Museum of Natural History. A further

the precise function of this unusual object remains

example is illustrated in ‘Angola and the River Congo,

uncertain. Its openwork construction and cage-like form

vol. 1’ by Joachim John Monteiro. This work, published in

suggest the possibility of a practical use, perhaps as a small

1875, provides an in-depth exploration of Angola and its

enclosure for birds or other small animals, although this

surrounding regions, detailing the landscape, culture, and

interpretation remains speculative. Whether utilitarian or

history of the area along the River Congo.

fa c e m a s k o r b a s k e t

MSOBOMVU Nicholas Sithole Terracotta clay, hand-built, carved, burnished and smoke-fired Height 20 ½ in, 52 cm; Diameter 15 3/4 in, 40 cm

msobomvu

T WO ENGRAVED SNUFF CONTAINERS TSONGA, SOUTH AFRICA Late 19th / early 20th century Wood, wirework

transverse grooves, creating a striking interplay of texture,

A: Height: 6 ½ in, 16 ½ cm

light, and shadow. A boldly carved suspension loop projects

B: Height: 4 in, 10 cm

from one side, while the narrow neck is encircled by a tightly wound metal-wire binding, providing a contrasting

PROVENANCE

metallic element to the deeply patinated wood.

A: Reverend A.A. Jacques and thence by descent. Reverend

The smaller container, of compact ovoid form, is

Jacques was a Swiss Mission priest known for his ministry and

distinguished by its refined geometric decoration. The

detailed ethnographic documentation in South Africa during

smoothly polished surface is engraved with registers of

the early 20th century. Beginning in the mid-1920s and spanning

intersecting diagonal lines, nested chevrons, zigzags,

roughly fifteen years, Rev. Jacques collected a massive assortment

and concentric arches, arranged in a carefully balanced

of traditional headrests (neckrests) created by the Tsonga-related

composition. A short cylindrical neck rises from the

(Shangaan) peoples. Most of these artifacts were gathered and

rounded shoulders, while a small pierced lug provides

documented around the Pilgrim’s Rest (Bushbuckridge) area in

for suspension. The restrained simplicity of its silhouette

the eastern Transvaal. In the late 1940s, he created the first formal

contrasts elegantly with the rhythmic complexity of its

classification system for southern African neckrests. Today, the 111

incised ornament.

headrests he compiled form a foundational ethnographic display

Snuff containers were important personal possessions

housed in the Johannesburg Art Gallery

throughout southern Africa, serving both practical and

B: Marc and Denyse Ginzberg Collection.

ornamental purposes. Frequently suspended from the body or carried among an individual’s personal effects, they offered opportunities for considerable artistic expression.

Two finely carved wooden snuff containers, each displaying

The care invested in their carving and decoration reflects

a distinctive approach to form, surface decoration, and

the significance of tobacco consumption within southern

ornamentation. Both are fashioned from dark hardwood

African social life, where the preparation, exchange, and

and possess a rich, lustrous patina, reflecting their age and

sharing of snuff formed part of everyday interaction and

handling.

hospitality.

The larger container is of elongated, tapering form, its

Together, these two containers illustrate the remarkable

slender body terminating in a gently rounded point. The

diversity and sophistication of southern African small-scale

surface is intricately worked with parallel longitudinal

woodcarving, transforming utilitarian objects into intimate

ridges alternating with densely incised bands of fine

expressions of craftsmanship and personal adornment.

t w o e n g r av e d s n u f f co n ta i n e r s

PAIR OF HEADRESTS SWIKHIGELO TSONGA PEOPLE, SOUTH AFRICA OR MOZAMBIQUE Late 19th century Wood, pokerwork Height: 6 in, 15 cm, Width 25 in, 63 cm PROVENANCE

Michael Heuermann, Cape Town, South Africa Jonathan Lowen, London, United Kingdom Karel Nel, South Africa

identical design, but being hand-carved, are not exactly the This pair of headrests is sumptuously interlinked with not

same. The ‘caryatid’ form consists of a central rectangular

one, but two sets of chains, painstakingly carved of wood.

upright that intersects two arcs, one curving down onto the

The artistry and planning required to carve both headrests

base and the other reaching upwards to support the sleeping

and the intervening chains from a single length of wood

platform. The outer surfaces of the arches and the vertical

attests to the maker’s skills. The upper platforms are gently

struts have carved decorations and a whorl that resembles

curved in opposite directions to facilitate the comfort of the

the design on the lugs at the point where they meet.

sleepers, indicating that they would not sleep side by side

Much has been debated as to the meaning and purpose of

but with their bodies positioned on opposite sides of the

headrests joined together by chains. Nel has explained how

headrests and their heads intimately close to one another.

acquiring paired headrests was a betrothal custom where

Indeed, these headrests show a degree of wear consonant

the objects explicitly demonstrated the connection between

with two individuals using them at the same time.

husband and wife and between the lineages of both families.

The ends of the upcurves are delicately incised with a

This double headrest is perhaps a declaration of an even

series of raised dots and darkened with pokerwork. The two

greater degree of commitment to the union. The virtuoso

outer edges of the sleeping platforms have semi-circular

carving is surely an indication not only of the pride in

lugs carved with spiral designs, while the inner lugs, also

owning such an object but in the reverence for the ancestral

of the same shape, serve as the connecting surface for the

associations that attach to its presence.

upper chain that joins the two headrests. The lower chain is

Images of two identical examples are reproduced – one

connected to the chamfered, two-lobed bases, each of which

in Art and Ambiguity and the other in The Art of Southern

has the typical V shape where the lobes meet.

Africa: The Pethica Collection, both undoubtedly by the

The central panels of the two headrests are carved in an

same carver.

pa i r o f h e a d r e s t s s w i k h i g e lo

ZULU VESSEL TUGELA RIVER VALLEY, KWAZULU-NATAL, SOUTH AFRICA Artist: Mncane Nzuza Terracotta clay. Hand-built, carved, burnished and smoke-fired. Height 10 ½ in, 27 cm; Diameter 21 in, 53 cm

Mncane Zinindeli Nzuza is a revered South African master

(beer vessel). Her work is celebrated for its complex tactile

potter recognized as one of the most innovative and

detailing, featuring precision linear etchings, diamond

technically accomplished practitioners of traditional Zulu

motifs, and raised amasumpa (clay bumps) that are finished

ceramics. Based along the Tugela River in KwaZulu-Natal,

through organic pit-firings to produce a glossy, jet-black

Nzuza learned her craft from her grandmother, initially

surface deeply rooted in Zulu ancestral spirituality. Today,

creating earthenware vessels for local community rituals

her signature masterworks reside in prestigious global

before gaining global acclaim.

institutions, including The Metropolitan Museum of Art,

Nzuza hand-builds ultra-thin, delicate vessels using coiling and slab techniques, famously pioneering unique,

The Art Institute of Chicago, The Minneapolis Institute of Art and The Nelson Atkins Museum of Art.

flattened profiles on traditional shapes like the ukhamba

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KNOBKERRIE IWISA ZULU PEOPLES, KWAZULU-NATAL, SOUTH AFRICA Late 19th / early 20th century Wood Height: 35 in, 89 cm PROVENANCE

Private New England collection

Knobkerries were traditionally carried by men among the Nguni-speaking peoples of southern Africa, serving as weapons, emblems of personal identity, and expressions of

An exceptionally elegant North Nguni knobkerrie,

status. Although fundamentally utilitarian, certain examples

distinguished by its boldly sculpted head, refined

were conceived with a degree of refinement that elevated

proportions, and remarkable economy of form. Rather

them well beyond their practical function. The distinctive

than the more familiar spherical or bulbous terminal, the

flattened and ridged head of the present example suggests

head has been carved into an elongated, fruit-like form,

an intimate observation of natural forms, its possible

its two broad, convex surfaces meeting along a sharply

botanical inspiration expressed through an unusually

defined central ridge. Rising to a gently pointed apex, the

restrained and abstract sculptural vocabulary.

head recalls the fruits and seedpods of the southern African

The surface displays a particularly attractive patina, its

landscape, its swelling, organic volumes articulated with an

warm reddish-brown tones deepening to near black along

almost architectural precision.The sculptural sophistication

the ridges and recessed areas. Subtle variations in color,

of the piece is particularly evident in the transition from

together with fine traces of handling and wear, accentuate

the slender cylindrical shaft to the broad, flattened head.

the underlying grain and contribute to the object’s quiet

The pronounced longitudinal ridge, extending toward

sense of age and intimacy.

the pointed extremity, imparts a sense of tension and

With its commanding silhouette, extraordinary restraint,

movement, while the smooth, subtly swelling surfaces

and harmonious balance between organic inspiration

soften the otherwise rigorous geometry. Viewed from

and geometric precision, this knobkerrie exemplifies the

different angles, the head alternates between a broad,

sculptural ingenuity of North Nguni woodcarving. Devoid

almost leaf-like silhouette and a narrow, blade-like profile,

of applied decoration, it achieves a remarkable expressive

creating a striking interplay of light and shadow. This

power through proportion and the subtle articulation of

transformation of an organic, seemingly natural form into

its surfaces alone. Its distinctive head, at once suggesting

a carefully balanced geometric composition reveals the

a ripened fruit, a pointed seedpod, and a carefully faceted

carver’s exceptional sensitivity to volume, symmetry, and

abstract volume, transforms a traditional implement into an

proportion.

object of exceptional sculptural elegance.

knobkerrie iwisa

ARMLET ARRAP MAASAI, KENYA Early 20th century Horn, copper wire Height: 8 ½ in, 21 ½ cm PROVENANCE

Nobel Endicott, New York

A sculptural traditional Maasai upper-arm ornament,

and was reserved for use by warriors who had taken life in

carved from animal horn and decorated with metal wire

battle. Carved of cow horn, its form recalls the head and

and, in some examples, suspended chains or tassels.

horns of an animal. The blend of curve, angle and line at

Historically associated with male warriors, this distinctive

play in this piece imbues it with a lively sense of poise.

form of armlet was reportedly reserved for individuals who

Errap were created by mothers for their sons, and

had killed an enemy in battle, serving as a marker of martial

were traditionally worn on ceremonial occasions such

achievement and social standing.

as weddings. These special ornaments are becoming rare

Such ornaments were also connected with family

as young Maasai men have gradually left the ancestral

tradition and ceremonial occasions. Primarily documented

schools and embraced modern modes of education. Despite

in historical collections from Kenya, examples date to the

their decline, errap have a lasting importance in Maasai

late nineteenth and early twentieth centuries. This type of

communities and are treasured by the families who own

arm ornament, known as errap, was worn on the upper arm

them.

armlet arrap

INKOMO KAMAMA Clive Sithole Terracotta clay, hand-built, carved, burnished and smoke-fired Height 15 in, 38 cm; Diameter 11 in, 28 cm

Born in Johannesburg, Clive Sithole has developed a practice rooted in Zulu ceramic traditions, enriched by his exchanges with master potters across South Africa and his work with Magdalene Odundo in the United Kingdom. Widely regarded as the first male Zulu ceramic artist to devote himself fully to a field historically dominated by women, Sithole reinterprets traditional izinkamba beer vessels through bold sculptural forms and incised imagery inspired by cattle, ancestral figures and the landscape. His work is represented in several important collections, including the Eskenazi Museum of Art in Indiana and the North Carolina Museum of Art.

inkomo kamama

SEPTUM RING BIPANE PAPUA NEW GUINEA First quarter 20th century Boar tusk Height: 2 ½ in, 6 cm; Width: 3 ½ in, 9 cm PROVENANCE

Collected in New Guinea in the 1930’s by a missionary, and thence by descent

s e p t u m r i n g b i pa n e

SERVING DISH WITH INDIGENOUS REPAIRS IPUKAI

and sculptural presence. Of particular interest are the numerous indigenous repairs distributed around the circumference of the vessel. Carefully fashioned wooden butterfly-shaped inserts bridge several fractures along the rim and exterior, while additional

HAWAII ISLANDS

fitted patches reinforce areas of damage. These repairs,

19th century

become an integral part of the object’s visual character. Far

Wood

from diminishing its beauty, they introduce a compelling

Diameter: 9 in, 23 cm, Depth 1 ½ in, 4 cm

secondary geometry to the otherwise unadorned surface,

executed with considerable ingenuity and precision, have

their angular forms providing a striking counterpoint to PROVENANCE

the vessel’s soft, continuous curves. They also speak to the

Private California collection

importance of preserving and maintaining valued wooden vessels within traditional Hawaiian society. Wooden bowls and serving dishes occupied an important

An exceptionally elegant shallow wooden serving dish

place in Hawaiian material culture, where skilled craftsmen

from the Hawaiian Islands, distinguished by its beautifully

produced vessels ranging from modest domestic utensils to

balanced proportions, restrained sculptural form, and

finely finished objects associated with chiefly households.

remarkable evidence of prolonged use and indigenous

Prized for their utility, durability, and beauty, such vessels

repair. Carved from a single piece of wood, the dish

exemplify a woodworking tradition in which sophisticated

presents a broad, gently concave interior enclosed by a

craftsmanship was expressed through purity of form rather

thin, subtly rounded rim. Its low, hemispherical profile and

than applied ornament.

uninterrupted contours reveal the Hawaiian carver’s refined

The present example is particularly compelling for the

understanding of volume, proportion, and the expressive

intimate relationship between its original conception and

possibilities of the simplest forms.

the accumulated history of its use. The charred interior,

The exterior displays a particularly attractive, richly

richly worn exterior, and carefully executed repairs together

variegated patina, its warm honey and reddish-brown tones

create a remarkable record of its working life. Its modest

deepening to darker shades along the edges and areas of

scale and shallow proportions lend it an understated

wear. The smooth, gently swelling underside retains subtle

elegance, while the juxtaposition of dark and luminous

traces of the original carving and the fine grain of the wood,

surfaces, organic curvature, and geometric restoration gives

lending the object an appealing organic quality. In striking

the dish an almost contemporary sculptural sensibility.

contrast, the interior has acquired a deep, almost black

With its extraordinary simplicity, deeply expressive

surface, apparently charred through exposure to heat or fire.

patina, and poignant evidence of preservation, this small

This darkened surface, with its subtle variations in tone and

serving dish embodies the quiet sophistication of traditional

texture, creates a powerful visual contrast with the luminous

Hawaiian woodcarving, transforming an everyday vessel into

exterior and contributes significantly to the dish’s character

an object of exceptional beauty and historical resonance.

s e r v i n g d i s h w i t h i n d i g e n o u s r e pa i r s i p u k a i

EZAKWANTU Sbonelo iHubo leNgabadi Terracotta clay, hand-built, carved, burnished and smoke-fired Height 8 ¾ in, 22 cm; Diameter 11 in, 28 cm

Born in the Eastern Cape and raised in KwaZuluNatal, Sbonelo iHubo leNgabadi comes from a family of traditional ceramic practitioners. He graduated from Durban University of Technology in 2011 with a National Diploma in Fine Arts. Drawing upon his indigenous and spiritual heritage, his sculptural vessels explore the cosmological and ceremonial significance of pottery within South African cultural traditions. His practice moves beyond conventional distinctions between functional objects and fine art, emphasizing the vessel as an expression of cultural identity and ancestral knowledge. He has exhibited in South Africa and internationally, received several awards, and is represented in public and private collections, including Iziko Museums of South Africa.

e z a k wa n t u

CARVED LIDDED VESSEL ZULU, SOUTH AFRICA Mid-late 19th century Wood, pokerwork Height: 14 in, 36 cm PROVENANCE

elaborate containers, frequently elevated on projecting

Private collection

feet and embellished with intricate surface carving, were produced by highly accomplished craftsmen working for Zulu elites and, increasingly, for European patrons. Their

An exceptional lidded wooden vessel of swelling ovoid

creation required exceptional technical skill, particularly in

form, supported on three boldly projecting feet and

the careful integration of complex geometric patterns with

surmounted by a closely fitted domed cover. The entire

the vessel’s continuously curving surfaces.

surface is covered with an extraordinarily intricate

The deeply incised decoration appears to evoke the

arrangement of deeply carved parallel grooves, organized

structure of woven basketry, reflecting a broader southern

into interlocking triangular and chevron-shaped fields.

African artistic tradition in which the forms and textures

The alternating direction of the carving creates a

of one material were translated into another. Here, the

complex, rhythmic pattern resembling interwoven fibers,

precision of the carving produces an almost textile-

transforming the rounded wooden surface into an intricate

like surface, while the emphatically rounded body and

geometric composition.

projecting supports give the vessel a powerful, almost

The decoration follows the contours of the vessel

animate character.

with remarkable precision, emphasizing its fullness and

Related examples are preserved in the Princeton

sculptural volume. The lid repeats the elaborate geometric

University Art Museum and the Metropolitan Museum

ornament of the body and is punctuated by three substantial

of Art, the latter attributed to the circle of the nineteenth-

projecting lugs. These, together with the three flaring feet,

century Nguni master carver Unobadula. Such comparisons

lend the vessel a striking architectural presence, their

place this vessel within an important tradition of prestige

broad, smoothly polished surfaces contrasting dramatically

carving in which utilitarian form was elevated into an

with the densely worked carving. The wood has acquired

ambitious expression of artistic virtuosity.

a rich, dark brown patina, with subtle variations in color

Distinguished by the extraordinary intricacy of its

accentuating the depth and precision of the ornament.

ornament, the harmonious integration of lid and body, and

The vessel belongs to a distinctive and relatively rare

the sculptural confidence of its three-legged construction,

tradition of sculptural woodcarving that flourished in

this vessel is a compelling example of nineteenth-century

KwaZulu-Natal during the nineteenth century. These

Zulu woodcarving.

carved lidded vessel

HEADREST XIKHIGELO ZIMBABWE/MOZAMBIQUE/SOUTH AFRICA 19th century Wood, pokerwork Height 4.92 x Width 6.45 x Depth 2.99 ins. (12.5 x 16.4 x 7.6 cm) PROVENANCE

Udo Horstmann, Zug, Switzerland Karel Nel Collection, South Africa

Three light colored columns, balanced on the back of an arc

d’Ethnographie de la Ville Neuchatel, collected by Henri

of darkened wood, seem to brace themselves to the work of

Junod in the late 19th century. He had identified it as

holding up the sleeping platform of this headrest. Together,

‘Ronga’, a group that lived around the Delagoa Bay area. Its

the arc and the columns comprise an unusual central panel.

museum accession date is 1892 and it is also illustrated in his

The arc spans the distance between the outer edges of the

The Life of an African Tribe.

double-lobed base. The two lobes themselves feel splayed out

This headrest also bears a strong similarity to two

by the force of the load above with their spreading chamfered

examples in the Johannesburg Art Gallery collection,

sides and, in connecting with each other, create a definite

which are documented as having been collected by the Rev.

indent on either side of the base. In fact, the gestalt of the

AA Jaques for the Suisse Romand mission school at Lemana

headrest seems like a zany ideogram for a person carrying a

in modern-day Limpopo, about 100 km south of Zimbabwe

load – a caryatid.

and 100 km west of the Mozambican border.

This headrest resembles an example in the Musée

h e a d r e s t x i k h i g e lo

TRIBUTE Jabulile Nala Terracotta clay, hand-built, carved, burnished and smoke-fired Height 10 ¼ in, 26 cm; Diameter 10 ¼ in, 26 cm

Born in Eshowe, KwaZulu-Natal, Jabulile Nala belongs to one of South Africa’s most distinguished families of ceramic artists, whose traditions extend back to the early twentieth century. Building upon the legacy of her mother, Nesta, and grandmother, Simphiwe, she creates striking sculptural vessels that both honor and challenge traditional Zulu forms. Her work is distinguished by inventive silhouettes and intricate surface patterns. Nala gathers red and grey clays from sites near her home, maintaining a close connection to the materials and practices of her ancestors. Her ceramics have been exhibited internationally and are held in public and private collections.

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tribute

A BRONZE TORQUE FANG, GABON OR EQUATORIAL GUINEA 19th century Cast bronze Diameter: 5 ½ in, 14 cm; Height: 2 in, 5 cm PROVENANCE

Private European collection

Among the most significant objects in Fang metalwork are

as valuable adornment, but with their considerable weight

a type of heavy neck ring or torque called ngo. Cast in thick

and permanent attachment to the body, they helped ensure

brass or bronze, they were decorated with incised designs

that, if a woman fled from her home, her escape would be

and closed with a hammer blow around the throat. Once

hampered and her married status would be impossible to

put on, ngo would remain worn until death. Similar torques

hide.

were sometimes wrapped around the arms.

This handsome example shows admirable craftsmanship,

Ngo were powerful symbols of social status and identity,

shaped with a strong central ridge that bisects the length

and possibly had ritual significance. While they were worn

of the torque and incised geometric panels symmetrically

by both married women and male warriors, some testimony

deployed at the midsection. Here, curved outlines are

from cultural elders indicates that the ornaments had a

interspersed with sharp, rectilinear shapes, generating an

severe purpose concerning wives. Superficially they served

attractive, subtly flexing tension in the design.

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KNOBKERRIE IWISA ZULU PEOPLES, KWAZULU-NATAL, SOUTH AFRICA Late 19th / early 20th century Wood Height: 25 in, 64 cm

The transition from the heavily modeled head to the slender, cylindrical shaft is especially effective. The shaft’s smooth, uninterrupted surface provides a striking

PROVENANCE

counterpoint to the complex geometry above, emphasizing

Private collection, United Kingdom

the contrast between simplicity and elaboration. The rich, lustrous patina, ranging from deep mahogany to almost black, further accentuates the sculptural character of the

An extraordinary knobkerrie distinguished by its boldly

piece. Fine surface fissures, traces of handling, and subtle

faceted spherical head, whose complex arrangement of

variations in the wood contribute to its compelling sense of

irregular polygonal surfaces creates an arresting interplay

age.

of geometry, texture, and light. Unlike the smooth, rounded

Knobkerries were traditionally carried as weapons,

terminals characteristic of most southern African clubs,

implements of personal defense, and expressions of

the head of this example has been meticulously carved into

masculine identity and status. While many examples were

a succession of shallow, subtly concave facets, producing

fashioned with relatively simple rounded heads, others

an intricate, almost crystalline surface. The resulting

reveal considerable artistic invention, their carved terminals

form possesses a remarkable sculptural presence, at once

reflecting the individuality and technical accomplishment

suggesting a naturally weathered stone, a geometric

of their makers. The present example belongs to this more

polyhedron, and the segmented surface of an exotic fruit.

sculpturally ambitious tradition, in which a functional

The carving is particularly compelling in its balance

object becomes a vehicle for highly imaginative formal

between geometric order and organic irregularity. Each

expression.

facet is individually articulated, its gently hollowed surface

With its extraordinary geometric sophistication,

bounded by softly raised ridges that form an interconnected

beautifully balanced proportions, and deeply expressive

network across the entire head. The facets vary subtly in size

surface, this knobkerrie transcends its utilitarian origins.

and shape, creating a lively, shifting rhythm that rewards

The faceted head, reminiscent of both a naturally occurring

examination from every angle. Light moves across the

mineral formation and an intricately patterned botanical

surface, illuminating the warm reddish-brown planes while

form, possesses an almost modernist sensibility. Its interplay

casting the intervening depressions into deeper shadow.

of concavity and convexity, repetition and variation, lends

This sophisticated treatment transforms the familiar

the object a visual complexity rarely encountered in such

spherical head into a remarkably animated sculptural

implements, making it a particularly compelling example of

volume.

southern African sculptural ingenuity.

knobkerrie iwisa

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knobkerrie iwisa

ZULU VESSEL MIDDLE DRIFT, KWAZULU-NATAL, SOUTH AFRICA Artist: Thembisile Nxumalo Terracotta clay. Hand-built, carved, burnished and smoke-fired. Height 13 in, 33 cm; Diameter 13 ¾ in, 35 cm

Thembisile Nxumalo is a South African ceramicist from KwaZulu-Natal who trained under master potter Jabulile Nala. Working within the Zulu pottery tradition, she creates hand-coiled vessels using locally sourced clay. Her forms are carefully burnished and pit-fired, producing rich earthy tones, dark fire markings, and lustrous surfaces. Her work is represented in the permanent collection of the Davis Museum at Wellesley College.

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HEADREST ISIGQIKI ZULU PEOPLE, KWAZULU-NATAL, SOUTH AFRICA Mid-20th century Wood Height: 5 in, 13 cm; Width 17 in, 43 cm PROVENANCE

Vittorino Menenghelli, South Africa Karel Nel, South Africa

With its solid columns and deep recesses, this large,

and some descending onto the sturdy platform base. A

horizontal headrest has the elements of grand architecture

horizontal row of square, coffered panels adorn the base,

on a small scale. The two massive outer legs are made even

and a version of the same design is carved vertically on the

more monumental by the columns carved in low relief on

two innermost columns which flank a deep central recess.

them. The lustrous sleeping platform overhangs the outer

This headrest is similar to an example carved by Makhebe

columns, providing a ‘roof ’ to the structure. The central

Khanyile, who lived southwest of Thukela Ferry in the

‘façade’ consists of a rhythmic interplay between smaller

Msinga area.

columns and recesses, some thrusting up from the base

headrest isigqiki

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headrest isigqiki

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headrest isigqiki

SINEW SPINNER SIBERIAN YUPIK PEOPLES, ST. LAWRENCE ISLAND, ALASKA 19th century or earlier Marine ivory Length: 8 in, 20 cm PROVENANCE

Rick Gallagher, New York City

Sinew spinners have been dated as far back as the Old Bering Sea I period and were initially thought to be part of a friction drill. In his seminal work The Eskimo about Bering Strait, anthropologist Edward William Nelson describes seeing a similar spinner on St. Lawrence Island, describing its use as follows: ‘The sinew to be spun is attached to the flattened rod at the shoulder, just below the hole, and by a rapid circular motion of the hand the flattened rod is caused to revolve rapidly, giving the desired twisting to the cord.’ The example offered here presents a form quite reminiscent of a twentieth-century Modernist sculpture, consisting of three almost geometric forms interlocked in an asymmetrical arrangement. A deep patina and mottling of age texture its ivory surfaces, lending an organic touch to the abstract, utilitarian minimalism of the piece.

sinew spinner

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sinew spinner

ZULU VESSEL PONGOLA, KWAZULU-NATAL, SOUTH AFRICA Artist: Penny Gumbi Terracotta clay. Hand-built, carved, burnished and smoke-fired. Height 18 ½ in, 47 cm; Diameter 17 in, 43 cm

Penny Gumbi is an exceptional South African master

structural balance, fine surface texture, and highly inventive

ceramicist celebrated for her high-caliber, large-scale

exterior decorations, which often feature intricate relief

contemporary Zulu pottery. Based near the mountainous

elements and unique ‘woven’ clay appliqué designs. Hand-

Pongola region of Northern KwaZulu-Natal, Gumbi learned

coiled and pit-fired using traditional organic fuels, her

her multi-generational craft from her mother, Nester

meticulously polished pots yield rich, dark tones and

Gumbi, and her mastery has been widely documented

dramatic fire-marks that make her large-scale vessels highly

in definitive ceramic texts like Elizabeth Perrill’s Zulu

sought after by global collectors and public museums

Pottery. She is highly regarded for crafting large, beautifully

including the High Museum, Atlanta.

balanced earthenware vessels that embody foundational

Penny Gumbi’s ceramics have been featured in

shapes like the ukhamba (beer container) and uphiso

publications and exhibitions devoted to South African

(narrow-necked water vessel).

pottery, including projects associated with Grinnell College

Gumbi’s work is distinguished by its extraordinary

and Indiana University.

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z u lu v e s s e l

THREE SNUFF GOURDS SOUTH AFRICA Late 19th / early 20th century Gourd, glass beads, wire Height: A : Height 3 ½ in, 9 cm B: Height 2 in,5 cm C: Height 3 in, 7 ½ cm PROVENANCE

Private collection

An engaging group of three snuff containers fashioned

The smallest, of compact, flattened globular shape,

from naturally formed gourds, each distinguished by its

is ornamented with finely twisted metal wire arranged

sculptural shape and distinctive ornamentation. The gourds

in radiating and intersecting bands. The wire follows

retain their warm reddish-brown surfaces, enriched by

the contours of the gourd, creating a delicate geometric

handling and age, while their varied decorative treatments

framework punctuated by small looped embellishments. Its

illustrate the ingenuity with which modest, utilitarian

decoration offers a particularly pleasing interplay between

objects could be transformed into expressions of personal

the organic form of the vessel and the disciplined geometry

adornment and individual taste.

of the applied metalwork.

The tallest, of elegant double-bulbous form, is encircled

Snuff-taking was an important social practice among

at its narrow waist by two closely spaced bands of turquoise

numerous Southern African communities, and the

colored glass beads. The restrained decoration emphasizes

containers used to store powdered tobacco frequently

the gourd’s naturally balanced silhouette, the brilliant blue

became objects of considerable aesthetic refinement. Often

providing a striking contrast to the richly patinated surface.

carried on the person, such vessels combined practical

The largest, of broad spherical form, is embellished

utility with opportunities for individual artistic expression.

with elaborate arrangements of small green glass beads

Taken together, these three examples demonstrate the

and contrasting white beads, suspended in dense vertical

remarkable diversity of form, material, and decorative

fringes from its shoulders. The beadwork recalls the beaded

invention found within this intimate tradition of Southern

ornaments worn on the body, effectively dressing the vessel

African material culture.

itself and lending an animated, almost anthropomorphic quality to its rounded form.

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three snuff gourds

ZULU VESSEL OYAYA, KWAZULU-NATAL, SOUTH AFRICA Artist: Thembi Nala Terracotta clay. Hand-built, carved, burnished and smoke-fired. Height 9 ½ in, 24 cm; Diameter 16 in, 41 cm

Thembi Nala is an accomplished South African ceramicist from KwaZulu-Natal and a daughter of the renowned master potter Nesta Nala. Continuing her family’s distinguished tradition of Zulu pottery, she creates handcoiled vessels inspired by traditional beer containers. Her work is characterized by elegant proportions, carefully burnished surfaces, and incised and raised geometric decoration. Through her mastery of traditional techniques, she preserves and extends the artistic legacy of one of South Africa’s most celebrated pottery families.

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HARPOON THULE CULTURE, ST LAWRENCE ISLAND, ALASKA 15th – 16th century Walrus ivory Length: 21 in PROVENANCE

Excavated on St Lawrence Island Jeffrey Myers, New York

While modern technology has replaced many of the

was harpooned. The other variety had a socket at the base of

traditional tools that enabled Inuit to survive in the Arctic,

the head to receive the tip of a foreshaft. After being thrust

one of their fundamental hunting weapons, the harpoon,

into an animal, one or more spurs at the base of the head

continues in use to the present day. Essentially, the harpoon

dug into its flesh; tension on the harpoon line, which passed

is a spear designed to secure a detachable point, or head, to

through a hole above the socket, then caused the head to

an animal; a line attached to the head allows the hunter to

rotate, preventing it from slipping out. This variety, called

retrieve the quarry once it has been struck. Harpoons have

the toggle harpoon head, was the more common form in

a wide distribution throughout the world, but it is among

Inuit cultures and is the type offered for sale here.

the Inuit that the most complex pre-industrial forms were

This harpoon comprises 3 parts: harpoon head, the

developed. The primary use of the Inuit harpoon was for

foreshaft and a socket piece. The socket piece would have

hunting sea mammals, both at breathing holes in the sea

been inserted into a long shaft. The harpoon shaft was made

ice and in open water, although in some arctic areas the

of wood, if available, as it would then float. In areas where

harpoon was used for fish as well.

wood could not be obtained, the shafts were fashioned from

Harpoon heads generally belonged to one of two major

narwhal tusk or from several pieces of bone or antler spliced

groups. One kind had a projecting tang at its base, which

together. It is extremely rare to find 3 original elements of an

was inserted into a socket piece on the end of the shaft.

excavated harpoon. Additionally, the example on offer has

Barbs projecting from the body of this type of head ensured

an unusual curve as it was probably designed to enable the

that it stayed embedded in the flesh of the animal once it

hunter to reach animals hiding under ice floes.

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PRICES

1 CEREMONIAL PADDLE

6 SEPTUM RING BIPANE

$7,500

$700

2 MATHUNZI ENTABA

7 SNOW GOGGLES $6,500

$6,500

11 MSOBOMVU $9,800

12 T WO ENGRAVED SNUFF CONTAINERS LARGE $950 SMALL $800

3 PRAYER STICK IKUPASUY

8 ZULU VESSEL $4,200

$2,400

13 PAIR OF HEADRESTS SWIKHIGELO $7,000

4 THREE ENGRAVED RITUAL OBJECTS CHURINGA

9 SNUFF CONTAINER

14 ZULU VESSEL $6,500

$8,500

LEFT $750 MIDDLE $1,200 RIGHT $750

5 ZULU VESSEL $6,000

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prices

10 FACE MASK OR BASKET

15 KNOBKERRIE IWISA

$1,500

$1,800

16 ARMLET ARRAP $2,500

22 HEADREST XIKHIGELO

28 SINEW SPINNER $3,500

$3,000

17 INKOMO KAMAMA

23 TRIBUTE

29 ZULU VESSEL

$5,200

18 SEPTUM RING BIPANE

24 A BRONZE TORQUE

30 THREE SNUFF GOURDS

$700

$800

LEFT: $600 MIDDLE; $600 RIGHT: $700

19 SERVING DISH WITH INDIGENOUS REPAIRS IPUKAI

24 KNOBKERRIE IWISA

31= ZULU VESSEL

$7,200

$4,000

$1,500

$1,250

20 EZAKWANTU

26 ZULU VESSEL

$5,200

$3,600

21 CARVED LIDDED VESSEL

27 HEADREST ISIGQIKI

$7,500

$4,500

32 HARPOON $1,500

Photos courtesy of Art Formes, for objects #2, #11, #17, #20 and #23.

prices

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ART AND ANTIQUES FROM AFRICA, OCEANIA AND THE AMERICAS

www.jacarandatribal.com dori@jacarandatribal.com T +1 646-251-8528 New York City, NY 10025

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prices