Cover Image: detail of a Uchikake. Presented by
Diane Hall Artifacts on p. 56
Special Edition
May 2025
As we enter the season traditionally graced by weddings, this catalogue serves as a tribute to those who continue to embrace the timeless ritual of exchanging vows. It offers a reflective journey through the evolving customs and symbolic gestures with which marriage has been celebrated across cultures and centuries— drawing from the ancestral traditions of ancient Asian civilizations, such as the Vedic ceremonies of India, to the deeply symbolic and communal practices of tribal cultures in Southeast Asia, Oceania, and sub-Saharan Africa. Each object and story speaks to a universal impulse: to mark love, alliance, and continuity with meaning.
We invite you to explore this catalogue— not only to reflect on the beauty of matrimonial traditions, but perhaps to discover the perfect gift for the next couple embarking on their journey together...
Soulmate
B AU l E f I g U r E
Bloblo Bian male figure
Baule
Ivory Coast
Early 20th century
Carved wood and pigments
Height: 35 cm
Provenance:
Private collection, netherlands
frank Van Craen, Antwerp
Price on request
O B j EC t Pr ESE nt ED By:
julien flak
M.: +33 6 84 52 81 36
E.: contact@galerieflak.com
W.: www.galerieflak.com
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According to Susan M. Vogel, these figures represent an ideal of man or womanhood, embodying not only physical perfection, but social, moral and intellectual achievement. the beauty of a figure advertised its owner's success as an intermediary with the spirit world.
In the Baule system of beliefs, all human beings have Blolo bla or Blolo bian (spirit spouses) who can influence their lives. Carved portraits of spouses from the other world were meant to honor these spirits, and, in return, to receive their protection.
the figure presented here stands out for its elegance and the refinement of its carving.
02
U MA (PA r VAt I )
tamil nadu, South India
Chola period 11th-12th century
Copper alloy
38,1 cm x 21,5 cm
Provenance: the estate of Kelly Brook, acquired in India in the 1950s galleria Ethnologica, forlì, Italy, 2011
Price on request
O B j EC t Pr ESE nt ED By:
Kapoor galleries
M.: + 1 (212) 794-2300
E.: info@kapoors.com W.: www.kapoors.com
Uma appears graceful yet powerful upon a tiered lotus throne. A crown surmounts her discreetly smiling face, modeled with wide eyes, a sharp nose and full lips. Her sacred thread or yajnopavita, guides the eye from her neck down her voluptuous torso and soft belly to her lap, where her beautifully detailed skirt covers her legs to her midcalf, below which multi-banded anklets and beaded ornaments decorate her down to her feet. She sits in lalitasana, the ‘posture of royal ease,’ with one leg retracted and the other hanging relaxedly off of her throne.
Most images of Parvati in this seated posture belong to a larger group referred to as ‘Somaskanda,’ which describes the divine family constituted by Shiva, Parvati and Skanda. the present figure of Parvati, or ‘Uma’ in the native language of tamil nadu, was almost certainly part of a larger group of sculptures which served an essential role in a Shaivite temple centuries ago.
“According to Shaiva Siddhanta philosophy, only when he is in the company of his consort Uma does Shiva bestow grace upon an individual soul. A metal image of the god together with Uma and their son Skanda is thus the principal image of such individual grace, and every single temple, wealthy or otherwise possesses a Somaskanda image” (V. Dehejia, the Sensuous and the Sacred: Chola Bronzes of South India, new york, 2002, p.128.). the image is of such great importance that it may be used as a substitute for any
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godly image needed for Hindu worship. While the present sculpture, like most figures of its size, was commissioned for and essential for temple worship, the group of three portable bronze images were also processional. Such is indicated by the holes fit for poles seen here, which enable worshipers to carry the divine figures into the streets for all to experience darshan—to meet the gaze of the divine.
there are instances in which bronze Somaskanda images were cast as a whole as well as instances in which they have been cast separately, while intended to be experienced together. One instance of a separately-cast Somaskanda group, such as that from which the present originates, can be found at the Puran Vitankar temple in tirumangalakudi, dated circa-1100 by Dehejia (see ibid, p.128, fig. 1). the present figure of Uma, however, differs from this one stylistically.
the eleventh or twelfth century date for the present figure is supported by the crown style, which follows that of Parvati’s in a
well known group depicting the marriage of Shiva and Parvati from the tiruvenkadu temple, circa 1012, now in the tanjore Art gallery (see V. Dehejia, Art of the Imperial Cholas, new york, 1990, p. 72, fig. 55). the three tiers of the conical crown and the central ornamented petal, as well as the simple layered necklaces and arm bands framing her buoyant breasts with articulated nipples, however, more closely matches that of a Somaskanda image of Parvati at the Shiva temple in Paundarikapuram attributed to the late twelfth century (see V. Dehejia, the Sensuous and the Sacred: Chola Bronzes of South India, new york, 2002, p. 43, fig. 22). Moreover, the absence of the three distinct lines above Uma’s abdomen (trivali tarangini), a later Chola convention, supports the early dating of this bronze.
B AU l E SCU l P t U r E
Sculpture
Baule
Ivory Coast
Early 20th century
Wood
Height: 40 cm
Provenance: galerie Monbrison, Paris
Alberto Costa romero de tejada, Spain
E. Balletbó collection, Spain. (acquired between 1980-1990)
Price: 8.000 euros
O B j EC t Pr ESE nt ED By: David Serra
t.: +34 (0) 667525597
E.: galeria@davidserra.es
W.: www.davidserra.es
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The proposal
rED fEAt HE r C U rr E n C y ‘ tEVAU’
A rare Double roll of Pacific
Santa Cruz, red feather
Currency ‘ tevau’
Solomon Islands
19th century
Plant fibre, bark strips, red bird feathers, small shells, glass beads
45 cm (h.) x 80 cm (w.) x 6,5 cm (d.)
Height with stand approx: 61cm high
Provenance:
Acquired directly in 1983 on temotu Island from joseph Olu, a local Elder/ Chief, whose family had owned the ‘ tevau’ for generations
Private collection
A rt WO r K Pr ESE nt ED By:
finch & Co
E.: enquiries@finch-and-co.co.uk
t.: +44 (0)7768 236921
W.: www.finch-and-co.co.uk
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these remarkable forms of Pacific Island currency are made of elaborate coils of red feathers taken from the scarlet honeyeater (Myzomela Cardinalis) and were the basis for a trading network between the neighbouring islands of the Solomons. In Polynesian societies the colour red was significant, it was the colour of the gods, used for the personal adornment of chiefs who believed they were the embodiment of the gods. the only source of a permanent bright red colour came from the feathers of certain birds and particularly brilliant red feathers are found on the scarlet honeyeater.
today, with modern life dominated by coins, banknotes, cheques and credit cards, it is difficult to understand how societies could function without conventional money. However, alternative forms of currency were once widespread throughout the world. routine daily transactions relied on barter; a fisherman would exchange a few fish with a farmer for some of his crop, but bartering systems don’t work when you want to buy in quantity or obtain something of exceptional value. thus, in the Solomon Islands the precious rolls of red feathers acted like a pile of banknotes or a large cheque, enabling pigs to be purchased for a feast day, or for a wife to be bought, with the whole community recognising these exchanges as being of great and permanent value. SOLD
As both metal ores and fossil coal deposits are not found in the Pacific a currency based on metal coins did not develop. Alternative currencies based on objects made from scarce natural resources that took a great deal of time and skill to make were developed, of which the Santa Cruz red feathers money is the most intricate and spectacular.
B AU l E P U ll E y
“Konantre" pulley, zoomorphic Baule
Ivory Coast 19th century
Height: 17,8 cm
Provenance: Harold rome
Sotheby's new york 1989 lot 76
Inagaki base
Price on request
O B j EC t Pr ESE nt ED By: james Stephenson
M.: +1 646.644.7156
E.: info@stephensonafricanart.com
W.: www.stephensonafricanart.com
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Ig BO CU rr E n C y
Currency
Igbo nigeria
Copper/Bronze length: 30,5 cm
Provenance: john B. Elliott, nyC
Damon Brandt gallery, nyC
Price on request
O B j EC t Pr ESE nt ED By: Mark Eglinton
M.: +1 646-675-7150
E.: markeglinton@icloud.com Ig.: @markeglintontribalart
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S EPIK
talipun bride price payment
yangoru - Boiken
Holik village, south of yangoru, P.n.g.
20th century
Plaited face, shell, pigments and feathers
Height: 60 cm
Provenance:
Michael Kremerskothen, Dortmund
Price on request
the talipun is an important item of ceremonial exchange, particularly in brideprice payments among the yangoru Boiken and Kubalia Boiken (Saussia) peoples of East Sepik Province in Papua new guinea.
As stated by ron May in “ talipuns - A Unique Boiken Artifact“ (in “Art of the Boiken”, Michael Hamson, 2011), talipuns and rings were sometimes ritually laid out (“lined”) in a formal pattern which was said to represent the body—arms, legs, head, and torso. traditionally, up to twenty talipuns might be used in a single brideprice transaction. the accumulated wealth was subsequently distributed amongst the bride’s brothers and other relatives. talipuns were also used in compensation exchanges following inter-clan or tribal warfare.
the currency presented here was fieldcollected by Michael Kremerskothen in Holik village, south of yangoru in the 1990s.
O B j EC t Pr ESE nt ED By: julien flak
M.: +33 6 84 52 81 36
E.: contact@galerieflak.com
W.: www.galerieflak.com
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I MA z I g H (B E r BE r)
MA rr IAg E n ECK l ACE
necklace
Imazigh Morocco
Amber, cotton, leather, silveralloy
Weight: Approx. 350 gr. Amber
Provenance: Old Dutch collection Price on request
Antique amber beads are symbolizing protection and fertility and are therefore a precious commodity in the dowry of the bride. to adorn an amber necklace during the wedding ceremony brings safety and prosperity.
O B j EC t Pr ESE nt ED By: louis nierijnck Primal Art t.: +31 6 558 974 85 E.: louisnierijnck@gmail.com W.: www.primitiveart.nl
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tO l AI CU rr E n C y
Bridal currency tolai tambu, gazelle Peninsula, P.n.g.
Shell, wood and fiber
Height: 60 cm
Provenance: Chris Boylan, Australia
Price on request
OB j EC t Pr ESE nt ED By: Mark Eglinton
M.: +1 646-675-7150
E.: markeglinton@icloud.com
Ig.: @markeglintontribalart
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Flowers
A PAI r O f SI x-f O l D
SC r EE n S
japan
Edo period
17th century
Ink, colour and gold leaf on paper
380 cm (h.) x 170 cm (W.)
Provenance:
Purportedly from the contents of an important Belgian castle
Private collection, Belgium
Price on request
O B j EC t Pr ESE nt ED By: gregg Baker Asian Art
M.: +32 (0) 469 49 84 89
E.: info@japanesescreens.com W.: www.japanesescreens.com
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A pair of six-fold screens depicting white and bluish-purple clematis on trellises behind woven fences and beside a stream, against an abundance of golden clouds.
the japanese name of clematis, tessen, meaning 'iron wire', was given due to its thin, wire-like vines. Clematis is considered to have first arrived in japan during the mid-Muromachi period (1336-1573). from the Momoyama period (1573-1610) onwards, representations of clematis were mainly incorporated into textile designs like noh costumes and kosode (a type of kimono), where the flower was often depicted as stylised floral vines (karakusa). In literature, clematis is associated with the season of early summer, and from the Edo period (1610-1868), it has been used in haiku ( japanese short form poetry) as one the kigo (seasonal words). the continuous spirals of this vine symbolise enduring good fortune, the continuity of happiness, and the prosperity of descendants, making it a favourable, auspicious motif. However, screen paintings featuring clematis as a main subject have hardly survived and this pair is a rare example, elegantly featuring its graceful flowers, leaves, and distinctive tendril.
for centuries in japan, folding screens beautifully decorated with gold and rich colours had adorned the grand mansions of aristocrats, elite warriors, and distinguished families during various occasions, particularly celebratory events. At weddings, for example, these elegant screens often served as spectacular
backdrops, decorated with auspicious motifs that symbolise joy, harmony, and blessings for the couple’s future. A pair of folding screens featuring symbols of prosperity and good fortune was certainly one of the most popular wedding gifts.
The Dress Code
U CHIKAKE
Blossoms, Chrysanthemums, Wisteria, and Stylized Cloud
Pattern
japan
Edo period (1615-1868) late 18th, early 19th century Silk figured satin (rinzu) ground dyed with safflower beni with kanoko and boshi shibori, silk embroidery and couched gilt-paper-wrapped-silk thread embroidery, painted detailing to flower centres. the colour remains quite vivid even though safflower is known for fading.
Width: 127 cm at the shoulders length: 159 cm
Price: 8.000 euros
O B j EC t Pr ESE nt ED By: Diane Hall Artifacts
E.: diane@dianehallartifacts.com
t.: +32 (0)473 135 815
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Uchikake are outerwear, worn flowing without an obi. this elegant example would have been worn by a bride at her wedding and would have been one of three matching kimono, one black silk and the other white.the ground is densely covered with symbols of good fortune worked in shibori and embroidery.
traditionally uchikake worn by a bride had long fluttering sleeves but they were often shortened after the ceremony if the owner wanted to wear the uchikake again for an important occasion, as a married woman only wore kimono with short sleeves.
the sleeves were shortened on this example and then subsequentally extended by reattaching the section of the original sleeves that were cut off, about 13 cms, both front and back, just above the bottom seam. this would either have allowed the daughter or another family member to wear it again as a wedding uchikake or perhaps the styles changed and a slightly longer sleeve was desired. Embroidery and patches cover the seam. It is very skillfully done.
there are related example in the collections of the Met, lACMA and Minneapolis Insitute of Art.
A DIAMO n D BA r
HA ng I ng PE n DA nt
north India
18/19th century C.E
Size: 7,5 cm x 7,1 cm
Weight: 25 grs
Price on request
O B j EC t Pr ESE nt ED By: Sue Ollemans
M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W.: www.ollemans.com
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Since the arrival of the British East India company in India during the 1600’s fashion for jewellery changed both in the Indian Courts and Court of Elizabeth 1. there is a distinctive cross over of ideas, the way gems are set and the use of enamel decoration.
the 19th century was well known for “creating” these marvelous “renaissance” jewels both in Europe and in India. this is such a jewel.
I believe the beautiful diamond doublesided bar with a peacock head at one end and a lion at the other comes from an 18th century jhumar. A Muslim bride would wear such a piece attached to the side of her head by many strings of pearl or tumbled gemstones.
the gold and enamel sheep or goat has been attached to the apex of a chain which may or may not be Indian, by a further chain which does not look at all Indian.
the result is a charming but composite renaissance-type jewel.
K I r IBAt I ADO r nME nt
Bridal adornment
Kiribati
Kingsmill group Islands, P.n.g. length: 38 cm and 17 cm
Provenance:
leo and lillian fortess, Hawaii
Price on request
O B j EC t Pr ESE nt ED By: Mark Eglinton
M.: +1 646-675-7150
E.: markeglinton@icloud.com
Ig.: @markeglintontribalart
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traditionally worn by married women.
A P EA rl, rUBy A n D
g l ASS nOSE r I ng
north India
Circa 1860
Width: 4 cm
Price on request
O B j EC t Pr ESE nt ED By: Sue Ollemans
M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W.: www.ollemans.com
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An I MPO rtA nt K A lg I
turban ornament set with navaratna on carved nephrite jade north India
Circa 1780 length: 12 cm
Price on request
O B j EC t Pr ESE nt ED By: Sue Ollemans
M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W.: www.ollemans.com
A navaratna set into a carved nephrite jade base and mounted on a gold and diamond pin.
the kalgi is an essential part of ceremonial attire, particularly at weddings or religious festivities. It is often worn by the groom as a symbol of honor and auspiciousness. In some traditions, the kalgi is believed to represent divine blessings and protection. It is normally attahed to the turban by the sister of the groom.
navaratna stones, meaning ""nine jewels"" in Sanskrit, are a collection of nine gemstones believed to be representative of the planets, sun, and moon in Vedic astrology and Indian mythology. the stones are traditionally a ruby, pearl, emerald, diamond, blue sapphire, yellow sapphire, hessonite, coral, and cat's eye. ruby is associated with the planet Sun, which is considered to be the king of the celestial kingdom. the Sun is believed to represent the soul, ego, and consciousness, and is thought to be the source of all life and energy. In Hindu mythology, the Sun is personified as the deity Surya, who is depicted as a radiant, golden-skinned deity with four arms and a crown of rays.
yellow Sapphire is associated with the
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planet jupiter, which is considered to be the most benefic planet in the celestial kingdom. jupiter is believed to represent wisdom, knowledge, and abundance, and is thought to be the source of all abundance and prosperity. In Hindu mythology, jupiter is personified as the deity Brihaspati, who is depicted as a wise and learned figure.
Blue Sapphire is associated with the planet Saturn, which is considered to be the most malefic planet in the celestial kingdom. Saturn is believed to represent discipline, responsibility, and structure, and is thought to be the source of all limitations and restrictions. In Hindu mythology, Saturn is personified as the deity Shani, who is depicted as a dark and somber figure.
Emerald is associated with the planet Mercury, which is considered to be the most neutral planet in the celestial kingdom. Mercury is believed to represent intelligence, communication, and adaptability, and is thought to be the source of all communication and movement. In Hindu mythology, Mercury is personified as the deity Budha, who is depicted as a youthful and intelligent figure.
Diamond is associated with the planet Venus, which is considered to be one of the most beneficial planet in the celestial
kingdom. Venus is believed to represent love, beauty, and harmony, and is thought to be the source of all beauty and pleasure.
In Hindu mythology, Venus is personified as the deity Shukra, who is depicted as a handsome and refined figure.
Pearls are associated with the planet Moon, which is considered to be the most changeable planet in the celestial kingdom. the Moon is believed to represent emotions, intuition, and the unconscious mind, and is thought to be the source of all emotional fluctuations and mood changes. In Hindu mythology, the Moon is personified as the deity Chandra, who is depicted as a gentle and luminous figure.
Coral is associated with the planet Mars, which is considered to be the masculine planet in the celestial kingdom. Mars is believed to represent energy, strength, and passion, and is thought to be the source of all action and assertiveness. In Hindu mythology, Mars is personified as the deity Mangal, who is depicted as a fierce and warrior-like figure.
Hessonite garnet is associated with the planet rahu (a celestial point in Vedic Astrology), which is considered to be a shadowy planet in the celestial kingdom.
rahu is believed to represent illusion, deception, and obscurity, and is thought to be the source of all confusion and chaos. In Hindu mythology, rahu is personified as a dragon-like figure who is said to swallow the Sun and Moon during eclipses.
Cat's Eye is associated with the planet Ketu, which is considered to be an inauspicious but a very powerful planet in the celestial kingdom. Ketu is believed to represent detachment, spiritual evolution, and transcendence, and is thought to be the source of all spiritual awakening and enlightenment. In Hindu mythology, ketu is depicted as a shadowy and serpent-like figure.
W ODAABE CE r EMO n IA l
D r ESS
Ceremonial dress for men
Wodaabe niger
first half of 20th century
Provenance:
Collected in situ by gertrude Schrage, the netherlands
Price on request
O B j EC t Pr ESE nt ED By: louis nierijnck Primal Art t.: +31 6 558 974 85 E.:louisnierijnck@gmail.com W.: www.primitiveart.nl
traditional garments made of narrow strips of indigo dyed cotton, sewn together. Elaborate embroidory with a ‘design language’.
One of the most intrigue examples of African textiles, is used by the men of the Wodaabe nomads during the yearly gerewol festival in niger. the young men present themselves to the potential brides. the girls judge and choose. the men showoff with the white of their teeth and eyes, and use a lot of make-up. the ceremony is accompanied by singing, dancing and music.
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W OMA n’S H EADD r ESS
CA ll ED P E r AK
ladakh, northeast India
Circa 1960
turquoise, coral, carnelian, mother-of-pearl, leather and silver
75 cm (l.) x 50 cm (w.)
Provenance:
Belgian collection, the father of the actual owner acquired it in Asia in the early 90’ies
Price on request
A rt WO r K Pr ESE nt ED By: farah Massart
M.:+32 495 289 100
E.: art@famarte.be
W.: www.famarte.com
this woman's headdress known as a perak is from ladakh in northeast India.
the headdress consists of a central oblong panel in red leather decorated with many rows of large turquoise beads and carnelian. An old silver ga’u box with applied filigree, coral and turquoise has been centrally placed. It is flanked to both sides by a black half-moon lambswool earflap, to protect the ears against cold weather. five strands of braided fibre strings are sewn at the flaps, to be tied into a knot behind the woman’s back.
An additional rectangular pendant set is decorated with rows of mother-of-pearl, turquoise beads and red coral strings.
the perak’s visible surface is covered with 128 turquoise stones; the biggest turquoise stone is placed at the front point, followed by the next best stones, where they are most striking. the perak is in a good condition, all the stones appear to be original, none are missing. the marks on the reverse show that the piece have been worn on the head.
Draped over the top of a woman’s head the headdress looks like a raised cobra (naga) ready to strike. In Hindu and Buddhist iconography the cobra with expanded hood represents protection of a deity image, and the perak by analogy offers protection to the wearer.
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the perak is a status symbol for ladakhi women, her wealth and position are shown by the number and quality of the stones, with turquoise as the dominant element; the value of the stones acts as a form of old-age security. When preserved intact the perak was traditionally passed from mother to eldest daughter on her marriage as a family heirloom. Older examples that passed through several generations might be covered with more stones. When a woman has no daughter her perak could be inherited by a close female relative, given away to a monastery or traded in the area.
yO r UBA S tA ff
Ose Sango Staff yoruba nigeria
19th century
Height: 44 cm
Provenance: juergens, Inc, new york rosemarie and leighton longhi (1944-2024), new york, acquired 1980
Price on request
OB j EC t Pr ESE nt ED By: james Stephenson M.: +1 646.644.7156
E: info@stephensonafricanart.com W.: www.stephensonafricanart.com
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The Gifts
A KA n PE n DA nt
Pendant
Akan
Southeast region, Ivory Coast
20th century gold (12/14K)
4,5 cm (l.) x 8,1 cm (h.)
Weight: 36,1 g
Provenance:
g.f. Scanzi (1936-2017), Italy
Price: 6.500 euros
O B j EC t Pr ESE nt ED By: David Serra
t.: +34 (0) 667525597
E.: galeria@davidserra.es
W.: www.davidserra.es
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jAPA n ESE E x PO rt l ACq UE r tr Ay
An oval japanese export lacquer tray decorated with the alliance of the coats of arms of the Mooyaart and Pauw families japan
Edo-period
Circa 1798
51,5 cm x 37,5 x 3,2 cm
Price on request
O B j EC t Pr ESE nt ED By: zebregs&röell +31 6 207 43671 dickie@zebregsroell.com www.zebregsroell.com
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this tray most likely was made on the occasion of the marriage in 1798 in Delft of Mr. Anthony noël Mooyaart ( jaffnapatnam 1777 - Batavia 1820), secretary-general of the ‘Indische Marine’, son of gualtherus Mooyaart, governor of jaffnapatam, and Anna Petronella Maria Pauw (Delft 1777 –the Hague 1858), daughter of Engelbert Imansz Pauw, bailiff and burgomaster of Delft. the tray might well have been ordered as a gift by the groom’s father, who probably had close connections with colleagues in Batavia and Deshima.
KAIOKE
japon
Edo period (1603 - 1868)
45 cm (h.) x 37 cm (Diam.lid)
Height (base) : 13 cm
Height (of the box alone):
38 cm
Price on request
O B j EC t Pr ESE nt ED By: galerie tiago
M.: 00 33 1 42 92 09 12 – 00 33 6 60 58 54 78
E.: contact@galerietiago.com
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Huge kaioke in nashiji lacquer adorned with a décor of watermelon leaves and stylized foliage realized with gold hiramaki-e lacquer. two Mon (traditional japanese coat of arms) are represented among the leaves: the triple hollyhock, symbol of the tokugawa clan, and the sixteen petals chrysanthemum, known as the imperial seal. On the inside the lid is decorated with golden tamaki-e lacquer in the form of a grassy hill, a pine tree surrounded by a bamboo forest in which japanese cranes and minogame turtles are thriving on a nashiji background. the inside of this kaioke box is upholstered with a fine red silk, whereas the base pedestal is adorned with seven bivalve shells realized in golden tamaki-e lacquer. this octagonal box was designed to contain painted shells that were used in a game called kaï awase (shell association). Each box was holding two set of one hundred and eighty bivalve shell, each one hand painted and adorned with a different scene, mostly from the classic japanese literature. the sole objective of the game is to match two paintings of two different shells to rearrange a poem.
Mon are an heraldic system used for centuries by the japanese nobility and the various clans of bushi, some are in use since the Kamakura era (1185-1333). Initially they had the purpose of identifying enemies from allies on battlefields. the association of two or more mon on a same piece indicates that it was crafted to serve as a gift on very specific occasions. In this case specifically, the association of these two mon serves the purpose of celebrating an alliance through matrimony. they stand for the association that reflects the forces in power in a japan still in its unification process rather than a sole strategic alliance.
the tokugawa clan (徳川氏, tokugawashi) is among the most powerful families in feudal japan, its members are thought to be direct descendant of the emperor Seiwa whose reign extended from 850 to 880. the Bodaji (funerary temple) of the tokugawa clan is located in Kan’ei-ji, tokyo whereas the main family sanctuary, or tōshō-gū, is in nikkō. their mon must be the most recognizable of them all, it symbolizes both the tokugawa family and the last shogunat that ruled over japan.
the imperial seal, kiku no gomon (菊の御紋, or the chrysantemum seal) is the japanese
national emblem, and coat of arms, it is on japanese passport for example. It was first used by the go-toba emperor (1180-1239). Under the Meiji era (1868-1912), the use of the 16 doubled petals was strictly and solely reserved to the emperor while the rest of the imperial family was entitled to use a variant with only fourteen petals.
the association of the crane and the turtle is a traditional topic of the japanese iconography; both are often also associated with the pine tree and the bamboo. In the taoist tradition, the crane and the minogame turtle (the japanese species that allows the growth of algae and moss on its shell) are strong symbols of longevity. the first one is believed to grant a thousand years of felicity while the other is thought to be able to bring up to ten thousands of years of happiness. the association of these two animals originate from a japanese traditional tale. When a huge flood happened, it drowned everything in its way. the crane unfortunately had nowhere to land and rest, so the turtle offered the shell on its back so the tired could sleep. latter, a great drought struck in the exact same marsh, the turtle, without access to water was drying out and could have died.
But the crane offered to carry its friend and fly to a place that was never stricken by any drought. this fable symbolizes mutual assistance and celebrates the union of contraries that can become complementary.
The Union
t HE WEDDI ng O f
VISH n U A n D l AKSHMI, PAg E fr OM A
BHAg AVAtA PU r A n A SE r IES
guler, India
Circa 1770
Opaque pigments and gold on paper
Image: 22,2 cm x 29,8 cm within a dark blue border
folio: 23,3 cm x 31,2 cm
Provenance:
Moti Chandra, Mumbai
Pramod Chandra, Cambridge, Massachusetts, 1964-2014
American Private collection
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Kapoor galleries
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According to the Bhagavata Purana Book VIII, canto 8, vv. 8-22, after lakshmi the goddess of Wealth and Beauty emerged from the Churning of the Ocean, the gods all vied to get her attention. She sought shelter with Vishnu and chose the god as her husband. the gods all rejoiced and celebrated the marriage.
the artist has conceived of the marriage ceremony much like a traditional Hindu wedding. Within an enclosure of qanats the couple is seated side by side in a marriage pandal under a canopy. Vishnu is resplendent, and lakshmi is veiled and lowers her head modestly and has her hand shielding her face. Vishnu holds the end of the cord attached to her veil. Brahma is the officiating priest making the offerings in the sacred fire. the moon god Chandra holds a pot of water. Other goddesses and apsarases attend the couple, bring sweetmeats, and play instruments. Outside the enclosure the other gods are dealing with more wonderful things to emerge from the ocean. Shiva seated nonchalantly on his bull nandi is imbibing the poison that had spurted from the great snake Vasuki’s many heads, much to the astonishment of one of his attendants. Indra has commandeered for his mount the wonderful four-tusked elephant Airavata and presides over it all like a master of ceremonies. the cow of plenty, Surabhi, has already appeared, as has the Parijata tree, while Surya the sun god has commandeered Ucchaihshravas, the seven-headed horse, and gallops off with him. A mighty garuda can be seen depicted in the middle top right outside of
the structure. the Ocean, still with mighty billows resulting from its churning, stretches off out of the picture frame signifying its cosmic dimensions and significance.
While all this is going on, Mount Mandara lies on its side forlornly in the distance, with the disconsolate asuras sitting on the seashore. the churning rope, the great snake Vasuki, is leaving the mountain behind and is heading towards Vishnu. the artist envisages his many heads forming another protective canopy above the divine couple. Eventually the churning is resumed, and the amrita, the nectar of immortality, the object of the whole exercise, emerges.
this painting, although slightly different in size, is related stylistically to a large Bhagavata Purana series (the Modi Bhagavata) that was dispersed in the 1970s. folios are in a number of collections in India, Europe, and the U.S. the Modi Bhagavata Purana is associated with two other series, a r amayana and a gita govinda, all three of which Archer linked to
raja Sansar Chand of Kangra’s patronage and his marriage in 1781 (1973, vol. 1, pp. 292-293). Other writers treat these series as somewhat earlier and in the guler style (goswamy and fischer 1992, pp. 312-315, and 2011; losty 2017, pp. 26-31). All seem to agree on the involvement of the four sons of nainsukh and two sons of Manaku, who are known collectively in goswamy and fischer’s terminology as the first generation after nainsukh and Manaku. Building on the artistic legacy of their grandfather Pandit Seu and their fathers, the six younger artists left behind an extensive oeuvre that attests to the family’s consistent artistic vision and uniformly impressive output. Characteristics of all three series are the naturalistic, even if idyllic, treatment of landscape for the first time in Pahari painting and the relatively soft palette.
j.P. losty
DAI B l A n KE t
Wedding blanket
Dai yunnan, China
first half 20th century 152 cm x 102 cm this rare, handspun, two paneled cotton wedding blanket is composed of all natural dyes and handwoven. It has an indigo dyed handwoven border. Provenance: Collected in Bangkok in the nineties
Price on request
O B j EC t Pr ESE nt ED By: louis nierijnck Primal Art t.: +31 6 558 974 85 E.: louisnierijnck@gmail.com W.: www.primitiveart.nl
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the bride and groom sleep under it during the wedding night.
tWO Br ASS fI g U r ES
O f V E n U g OPA l A A n D rADHA
Odisha, India
17th/18th century
Brass Height: 44,5 cm
Provenance: the Venugopala acquired from Doris Wiener gallery, new york, 1978 the radha acquired from Sotheby's, new york, 26 March 1998, lot 227
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Venugopala (an epithet for Krishna) and radha are the divine couple that appears during the eighth incarnation of Vishnu. In this form Venugopala is meant to serenade creation with his flute, and through his feats in the Mahabharata and other formative Hindu texts, he fulfills his role as a heroic preserving avatar. radha appears with him as the chief consort and is commonly thought of as a goddess of love. She is understood to be extremely beautiful and is usually adorned with a copious amount of jewelry and adornments.
In these figures, both deities stand on a lotus base in stances that depict motion. r adha appears in a hand gesture with her right foot slightly raised which is reminiscent of the r aslila dance centered around the goddess. Venugopala is in his flute-playing stance, legs crossed, highlighting the deity’s connection to the instrument and music. Both gods appear to us in the nude, straying from the tradition of depicting r adha as extremely ornamented. What stands out through this depiction is the ear piercings they both feature as well as the ones on r adha’s nose. Odisha tradition is shown here through the use of brass, and traces of pink polychrome can also be found decorating r adha’s lotus base and face, evidence of puja (worship) in the piece’s past.
Each standing on a lotus base, he with ankles crossed and hands as if holding a flute, she with one hand raised on gesture, both with wide-open eyes and hair in flat buns on the top of their heads.
7. Happily Ever After
Ar CA f I g U r ES
Sacred couple
Bali
19th/very early 20th century
Wood, natural pigment, jewel
Height: 21,5 cm (male) and 20 cm (female)
Provenance:
Serge le guennan, Paris
Price on request
O B j EC t Pr ESE nt ED By: thomas Murray
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Arca is a generic term used in Indonesian for statues or images, often ancient.
Presented here is an arca pair of male and female deities used in sacred rituals, carried on the head during great processions and brought from the temple to the sea.
they are revered as being among the most holy and important of all Balinese works of art, bringing the gods as they do from the invisible world, niskala, to that of the seen, sekala
I tA r A f I g U r ES
Ancient pair of figures
Atauro Island, East timor 19th/early 20th century Wood, cotton, fiber cord 23 cm (h.) and 22 cm (h.)
Provenance: laurence A. g. Moss
Purchased by Kupang (1979)
Publication: taylor, P. M. (ed), fragile traditions, University of Hawaii press, Honolulu, 1994, (fig. 8), p. 108
Price on request
O B j EC t Pr ESE nt ED By: thomas Murray
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this is an exceptionally important pair of Itara, featuring a very early sculptural style.
they were collected by Dr laurence Moss, a research anthro-economist who did work in the outer islands of Indonesia in the 1970s and very early 80s.
He kept them for 40 years.
H OPI KAt SI n A DO ll S
Katsina dolls
Carved by Hopi Chief Wilson tawaquaptewa, Oraibi (18731960)
Arizona, USA
Circa 1930
Carved wood (cottonwood), pigments
Height: 37 cm and 26 cm
Provenance (left): Barry Walsh, USA galerie flak, Paris
Private collection, luxembourg, acquired from the above
Provenance (right):
Private collection acquired in the 1970s, USA
thence by family descent
Anne Morizon, london
Price on request
O B j EC t Pr ESE nt ED By: julien flak
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E.: contact@galerieflak.com
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Kachina dolls (or katsinam) represent spirits or gods from the pantheon of the Pueblo peoples in the American Southwest. given to children, kachina dolls constituted a pedagogical tool allowing them to familiarize themselves with the spiritual world and perpetuating knowledge of the founding myths on which their society was based.
these two Katsina dolls are works of a Hopi master carver, Wilson tawaquaptewa (1873-1960).
Oraibi chief W. tawaquaptewa was both a prominent a spiritual and political Hopi leader; he is also celebrated as one of the greatest Katsina doll carvers.
A major exhibition of W. tawaquaptewa's works was notably presented a few years ago at the Birmingham Museum of Art (Alabama, USA).
the color palette on this doll is typical of this artist's works.
for more information on this sculptor, please refer to the chapter “ the Unique Katsinam of Wilson tawaquaptewa” in the book ""l'Appel des Kachinas - Katsina Calling"", pages 60 to 72 (B. Walsh, j. flak, 2024).
BAtAK f I g U r ES
Debata Idup Pagar Protective
Pair
Batak, Sumatra
19th/very early 20th century
Wood, fiber
28 cm (h.) and 20 cm (h.)
Provenance: lee van Oostrum, Canada
james Willis, San francisco
Private collection, San francisco
Price on request
OB j EC t Pr ESE nt ED By: thomas Murray M.: + 1 415.378.0716 E.: thomas@tmurrayarts.com W.: www.tmurrayarts.com
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A rare and aesthetically pleasing pair of protective deities; Pairs with this iconography are known almost exclusively from old European museum collections.
Debata Idup Pagar are amongst the most sought after of all Indonesian tribal sculptures.
rAMA A n D S I tA
Ent H r O n ED
Punjab Hills, guler, India
Circa 1830
gouache heightened with gold on paper
folio: 25,1 cm x 19,6 cm
Image: 23 cm x 17,2 cm
Provenance:
Christie’s South Kensington, 4
October 2012, lot 211
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Kapoor galleries
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this scene illustrates the joyful conclusion of the great Hindu epic, the ramayana. rama, the seventh incarnation of Vishnu, sits alongside his beloved Sita upon a gold throne (gaddi) supported by tiger-shaped legs within a pavilion. Before the auspicious couple stands Hanuman, the monkey chief who had assisted r ama in killing the demon ravana and recovering Sita. With a book opened in his hands, Hanuman looks up at them with a large toothy smile.
the divine couple is enthroned on a deep red Mughal-style carpet with floral motif and surmounted by a parasol bedecked in jewels and made of gold. Above, fabric panels are raised and tied in between concisely modeled arches. A host of attendants and onlookers watch from both behind and from the foreground. Amongst the crowd, lakshmana is pictured bearing a fly whisk (chauri) alongside jambavan, the king of the bear army. Exceptional detail is given to the blooming tree which stems from behind jambavan. A creeping vine gracefully winds its way up the knots and texture of the trunk, leading the eye to the lush green foliage with blooming flowers interspersed with small birds.
for another illustration of this subject, see the San Diego Museum of Art, Accession no. 1990.1283.
A PAI r O f yO r UBA IBE j I f I g U r ES
Standing anthropomorphic pair of Ibeji figures yoruba nigeria
19th century
Height: 25,4 cm
Provenance: lEO AnD KArIn VAn
OOStErOM, tHE HAgUE / AMStErDAM
DEC 10, 2024, CHrIStIE'S — tHE KArIn AnD lEO VAn
OOStErOM
Price on request
O B j EC t Pr ESE nt ED By:
james Stephenson
M.: +1 646.644.7156
E.: info@stephensonafricanart.com
W.: www.stephensonafricanart.com
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