World Art

A beautiful classic ivi po'o ornament, a man's amulet, carved with the representation of a Tiki. Marquesas Islands Human bone, beautiful patina of use. H ;5,3 cm Provenance : Anne and Jacques Kerchache Collection. Exhibitions : - Gems, Monumental Miniatures from America, Pacific, South East Asia and Africa, 2009 fig. 23 - Pierre Bergé & Associés sale, June 13, 2010, lot 384.

AFRICA Wicker and metal "Masai" shield (height: 123 cm, wear)

An ancient voodoo bocio piquet statuette of bewitchment and control, with an imposing jaw fixed from behind seeming to represent the arms of the character flanked by an important control cleat still planted in the chest to control or hinder the breath and thus life itself. Remember that to be effective, the existence of these bewitching objects had to be revealed and known by the person or opponent targeted. Fon, Benin Wood, rope, bone, clay, and other elements, very beautiful thick and old sacrificial patina of use. H. 38 cm Provenance : Anne and Jacques Kerchache Collection. Exhibition and publication : Voodoo Exhibition, Paris, Fondation Cartier pour l'Art Contemporain, 2011, reproduced p. 72 and 183.

A rare and spectacular complete armor, falling into the category of light foldable and easily transportable armors, entirely made of black and brown lacquered leather scales. Even if we can compare this extraordinary armor in its conception with two other armors with lacquered leather scales, one of which is in the Okayama museum and another in a private collection, this armor is absolutely unique in the world, all collections included, because it is entirely made of scales. This armor, which could be used as much by a rider as by an infantryman, remains a mystery in the specialized literature and is still a great rarity for specialists, much more than a curiosity. It is presented on a lacquered box independent of this armor with the coat of arms maru ni igéta. Japan, early 17th century Armor made of lacquered leather scales, visible accidents to the lacquer on many scales and leggings, otherwise very nice patina of age and use. Armor H. : 110 cm approximately Box H. : 57 cm Provenance : - Armand Pierre Fernandez dit Arman collection (acquired in Tokyo in 1989). - Collection Anne and Jacques Kerchache (acquired directly from Arman). Exhibitions and publications : - Armures japonaises dans la collection Arman, Paris, Grand Palais, 1992, reproduced on p. 15 of the catalog. - Pierre Bergé & Associés sale, June 13, 2010, lot 98.

A large voodoo stake statuette with a slave's iron around the neck, probably to control speech or even cause aphasia, and a hole for an ancient cleat in the chest to control breath and thus life or even cause death. Nago, Benin Wood, iron, cords, fabric, old sacrificial patina of use. H. 55 cm Provenance : Collection Anne and Jacques Kerchache Exhibition : Voodoo Exhibition, Paris, Fondation Cartier pour l'Art Contemporain, 2011, exhibited but not reproduced in the catalog.

Set of four dishes and a half-bar in Iznik earthenware decorated with tulips and carnations Diameter: 25 to 29,4cm (broken and glued, restoration) Lot to be taken in Pantin, on June 1st 2023 - by appointment -

A sculpted head with forehead and temples scarified in relief, very old crest mask, covered with leather, with a hairstyle and a beard of hair with a double braided plait, and a growth at the top of the skull. Boki, Nigeria Wood, leather, rattan, metal nails, visible wear and accidents of age, beautiful patina of use. H. 23,5 cm Provenance : Anne and Jacques Kerchache Collection. Exhibitions and publications : - Christie's sale, Paris, October 29, 2008, lot 119. - Pierre Bergé & Associés sale, June 13, 2010, lot 304.

A voodoo piquet sculpture of bewitchment and control carved with two male and female figures back to back, bound, and both wearing slave irons. The commentary on this work on page 40 of the catalog of the Voodoo exhibition at the Fondation Cartier, reminds us that slavery was practiced locally and on a large scale in the region until the middle of the 19th century. Fon, Benin Wood, rope, iron, plants, clay, sacrificial patina of use. H. 31.5 cm Provenance : Anne and Jacques Kerchache Collection. Exhibition and publication : - Voodoo Exhibition, Paris, Fondation Cartier pour l'Art Contemporain, 2011, reproduced on pp. 40, 88 and 208.

A thangka representing Chemchock Heruka. Tibet, late 18th century Fabric, pigments, as is 140 x 86 cm Provenance : Collection Nadine Vinot-Postry, Paris.

*A rare and ancient female statuette with articulated arms, adorned with earrings, and removable breasts (one is missing) nailed to the bust. For works from the same region and culture, see : Ubangui Art et Culture au cœur de l'Afrique, Éd. Actes Sud, 2007. Ngbandi (or Ngombe), Ubangui region, North of the Democratic Republic of Congo Wood, iron, small visible damages, old breakage, old dry patina H. 16.8 cm Provenance : - Acquired from a congregation of white fathers in Freiburg. - Swiss private collection. *This lot is sold as a temporary import.

An ancient and imposing polychrome mbumba bwiti reliquary figure, with large eyes set with glass strips characteristic of this corpus, wearing the ancient mitooki hairstyle with an axial stripe and in four braided plaits, plaits here sculpted with openwork. It should also be noted that it is part of a workshop style center where the sculptors treated the chins in a flattened manner like the two previous reliquary figures and also the following one. She is still adorned with her earrings. For mbumba with comparable openwork headdresses, see : Lumbu, a Sacred Art, Gourcuff-Gradenigo ed. and Galerie Bernard Dulon, 2016, figs. 84, 97, 99, or 105. Lumbu, Gabon Wood, glass, pigments, resin remnants, earrings, important oxidation of age, visible accidents and lack, very beautiful and old patina of use. H. Height : 43 cm Provenance : Jacques Viault Collection.

An important and very ancient Koma su anthropo-zoomorphic mask, a male mask of the Koma, which became a sacrificial altar, the skull covered by an important "load" made up of horns and other sacrificial elements. In the same way as among the Bambara in Kono society, large masks representing a kind of bird-man, after having danced a great number of times and having proved their effectiveness in fighting witchcraft, become sacrificial altars. This specimen, which is one of the most beautiful masks in the corpus, shows an exceptional patina on the inside of the helmet, attesting to its many uses and great antiquity. For an exceptional example of a koma ba mask (female counterpart of the koma su mask) in the Arman Collection, see : Arman et l'art africain, Éd. R.M.N., 1996, p. 134, n° 107. Maou (or Toura), Ivory Coast or Guinea Wood, horns, iron, and various sacrificial elements, very beautiful and old patina of use. H. 76 cm Provenance : Anne and Jacques Kerchache Collection. Exhibition and publications : - Pierre Bergé & Associés sale, June 13, 2010, lot 290. - Reproduced in L'Art Africain, Éd. Citadelles & Mazenod, 1988, p. 383, n° 364.

A group of two Pumbira-type Batéba statuettes, one of which has a sacrificial patina, and was diverted by a healer according to D. Bognolo, see Lobi, visions d'Afrique, Éd. 5 Continents, 2007. Lobi, Burkina Faso Wood, very beautiful patina of use. H. 19 and 13.8 cm Provenance: Collection Nadine Vinot-Postry, Paris.

An archer's ring China Polished jade, beautiful patina H. 2,5 cm Provenance : Nadine Vinot-Postry Collection, Paris.

An ancient and extremely rare kneeling female statuette, with a scarified face on the forehead and temples, arms folded over the belly. The head of this statuette, with a face with large eyes engraved in arcs and marked with emblematic scale scarifications, recalls the most beautiful okuyi masks of the Punu or mukuji of the Lumbu. It is distinguished, beyond its rarity, by a particularly successful hairstyle, with a curved central bun and three drooping braids treated in flat planes reminiscent of the hairstyle of the Punu statuette in the Vérité collection, and subdivided and highlighted by a superbly rhythmic geometric structure. The treatment of the shoulder blades is subtle and shows, like the ancient kaolin, a very beautiful ancient style. It is difficult to determine the precise use of this sculpture as it is part of a rare corpus. It is likely that it was placed next to or on a basket, an altar, as a guardian of a reliquary, or that it was linked to a protection rite, or to a specific request linked to fertility given the position of its arms. But it is difficult when discovering this sculpture not to immediately think of the famous lumbu statuette, guardian of a reliquary, formerly in the collections of the Musée de L'Homme, so rare is this type of sculpture. See, among other publications, for the lumbu reliquary guardian statuette formerly in the collections of the Musée de l'Homme and (renamed punu) in the collections of the Musée du Quai Branly, on the cover and p. 58 of the exhibition catalog: L'Idéal féminin dans l'art africain, Éd. Galeries Lafayette, 2001; or Lumbu, Un art sacré, Éd. Gourcuff-Gradenigo et Galerie Bernard Dulon, 2016, p. 141, fig. 31. Lumbu or Punu, Gabon Wood, old white (kaolin) and orange pigments, wear, small visible lack at one foot (old breakage), old oxidation and old patina. H. 22 cm Provenance : - M. Malraison - Dr. R. Taburet, acquired from the previous owner then transmitted by descent. Exhibitions and publication : - Art Noir exhibition, Musée de Brest, 1968, reproduced fig. 259 of the catalog. - Exhibition Regard sur l'Art Tribal, Crédit Mutuel de Bretagne de Brest, February-March 1999.

A rare bwiti dance palette, it could be an emwetse puppet or a tsongo-tsongo puppet head decorated with a face characteristic of tsogho vuvi and sango masks, and incarnating the ancestor. It is decorated with tenons to attach a headdress made of vegetable fibers. Tsogho, Gabon Wood, pigments, patina of use. H. 85 cm Provenance : Jacques Viault Collection.

An ancient and beautiful female kut statue, in an emblematic and characteristic position of the Joraï statuary of the highlands, also commonly called "art of the Montagnards", and said to be in the position of a thinker or a mourner. These statues, which have become great classics of Southeast Asian tribal art, surmounted some of the multiple posts that constituted a palisade structure protecting a burial site, and in no way represented the deceased. This is a female sculpture wearing a bun, and a rare thing, whose sex and breasts are carved and still clearly readable despite the erosion. The gullying of the wood of the kut statues by the weather, which testifies beyond a very beautiful old style of the great age of this sculpture, also participates largely in their beauty. For examples of ancient burials and other kut statues, see : Jarai, Les Indes savantes, 2006, p. 113 and 118. Jorai, (or Jarai), Highlands probably from the Kon Tum region, Vietnam Wood, cracks, erosion and gullies, very beautiful and old patina. H. 110 cm Provenance : - Galerie Bernard Dulon, Paris. - Jacques Boutersky, Paris. - Private collection, Milan.

A superb and ancient statuette in the synthetic style very characteristic of Bamboo Toro with notably its ears carved in semi-circles. It is imprinted with a sacrificial material also very characteristic of these miniature statuettes of personal altar, and clearly indicates an eloquent dance movement rarely so successful, and its vision according to the angle under which one contemplates it makes it alive. For another miniature personal altar statuette of the same type but in a different position, in the collection of the Metropolitan Museum, New York (inv. no. 1977.394.3), see: Dogon, Musée Dapper, Éd. Dapper, 1994, p. 210. Dogon, Mali Wood, patina with sacrificial material, superb patina of use. H. 15 cm Provenance : Collection Nadine Vinot-Postry, Paris.

An ancient scepter carved with a chief's head, with openwork eyes and mouth, the "body" of the scepter is decorated with beautiful and characteristic engraved motifs on each side, and a cross painted with an ancient pigment on the beautiful and imposing Mutwe Wa Kayanda headdress, emblem of the Tchokwe chiefs. Tchokwe, Angola Wood, pigment, visible restorations of the end of the nose and the lower jaw, small minor accidents at the back, old and beautiful patina of use. H. 57.5 cm Provenance : Collection Nadine Vinot-Postry, Paris.

A mbumba bwiti reliquary figure, with its charge and still possessing its mirror, and a coin taken from the resin below the charge, and wearing a hairstyle in parallel braids. The role of the mirror is to recall the presence of the ancestors who influence, and have the ability to influence, the lives of the living. The mirror is a symbolic and magical element such as a doorway to the world of the ancestors. The cult of the ancestors is at the heart of the practices of bwiti. Lumbu, Gabon Wood, glass, pigments (paint), resin, coin, and other elements constituting the load, small visible wear, beautiful and old patina of use. H. Height : 28 cm Provenance : Jacques Viault Collection. Publication : Lumbu, a sacred art, Éd. Gourcuff-Gradenigo and Galerie Bernard Dulon, 2016, reproduced p. 119, fig. 77.

ANONYME. - "Baule Woman, Ivory Coast". Silver print bearing the New York Times stamp on the back, mounted in a wooden frame. Dim. frame : 31,5 x 25 cm ; subject : 11,4 x 7 cm./ ANONYMOUS. "Guezé Woman, New Guinea". Silver print, mounted in a wooden frame. Collection G. Lerat Collection. Dim. frame : 31,5 x 25 cm ; subject : 11,4 x 7 cm./ ANONYMOUS. "Guerret Man, Ivory Coast". Silver print bearing the New York Times stamp on the back, mounted in a wooden frame. Collection G. Lerat Collection. Dim. frame : 31,5 x 25 cm ; subject : 11,4 x 7 cm./ ANONYMOUS. "Toucouleur Woman, Upper Volta". Silver print, mounted in a wooden frame. Collection G. Lerat Collection. Dim. frame : 31,5 x 25 cm ; subject : 11,4 x 7 cm / Set of 4 pieces.

A beautiful and ancient cane carved with a fantastic scene composed of a character in movement seeming to fly, with inlaid eyes, he is bald and dressed, and from his body or his dress merge a multitude of fantastic animals with inlaid eyes or which were formerly. European folk art Wood and glass beads, small accidents and cracks of age, very beautiful patina of use. H. 92 cm Provenance : Anne and Jacques Kerchache Collection.

An ancient anthropomorphic pendant with a very rhythmic stylization of the face and body, characteristic of this rare corpus, pierced with two carrying holes in the armpits of the figure, as in the examples from the former W. W. Brill collections or from the former collection of Prince Sadruddin Aga Khan. Hungana, (or Bawana), Democratic Republic of Congo Ivory, wear, nice patina. H. 6,4 cm Provenance : - André Derain Collection, Paris 1930. - Collection Anne and Jacques Kerchache. Exhibitions and publications : - Retrospective André Derain: le peintre du trouble moderne, Musée d'art moderne de la Ville de Paris, November 18, 1994 - March 19, 1995, reproduced p. 403. - Gems, Monumental Miniatures from America, Pacific, South East Asia and Africa, 2009, fig. 61.

*A set of two fertility dolls including an akwaba doll adorned with a necklace with a medal and bead necklaces. Ashanti and Fanti, Ghana Wood, beads, patina of use. H. 35 cm and H. 29.5 cm Provenance : Nadine Vinot-Postry Collection, Cuernavaca. *This lot is sold in temporary importation.

A thangka representing Yamantaka, with mantra painted in gold under the paint. Tibet, 18th century Fabric, pigments, as is 136 x 77 cm Provenance : Collection Nadine Vinot-Postry, Paris.

An ancient and beautiful polychrome mask with its ancient ornament of vegetable fibers, also polychrome, recalling the polychromy in subdivision of the adouma masks or okukwé masks of the galoa. In spite of its obvious age and authenticity, this mask does not have any hanging holes and has not been danced. It was carved without having been initiated. For a Bavuvi mask photographed by Pierre Amrouche wearing a similar plant fiber ornament, see : Art ancestral du Gabon, Éd. Nathan and Musée Barbier-Mueller, 1985, p. 93. Benjabi, Gabon Wood, nails, old oxidation, mineral and vegetable polychromy H. 26 cm Provenance : Jacques Viault Collection.

A Kota Guardian Figure, "mbulu ngulu" - Reliquary figure, "mbulu ngulu" Kota-Ndassa, Gabon Mit Sockel / with base Wood, copper alloys. H 51 cm. Provenance: - Adalbert von Alföldy, Eislingen. - Liselotte Spuida, Pfronten. - Auction house Zemanek-Münster, Würzburg, 09.03.2019. - Swiss private collection, Vaud. The Kota peoples (formerly also called "Bakota") are located in northeastern Gabon to the Republic of Congo. They include mainly the Mahongwe, Shamaye, Shaké, Obamba, Wumbu and Ndassa. The Kota worshipped significant ancestors in ancestor worship, and the associated reliquary figures called "boho-na-bwete" are a particularly remarkable creation within African art. The figures, carved from wood and supplemented with metal applications of various colors, were embedded up to the neck in woven rattan baskets or simpler textile bales. These containers contained, in addition to earthly remains of the bodies or body parts of important ancestors, other power objects of all kinds (remnants of the respective personal possessions of an ancestor, amulets, valuables, medicine, healing utensils, animal relics, etc.). The task of the powerful relic keepers was to guard the irreplaceable reliquaries and protect them from harm. Relic baskets were witnesses and material evidence of the bloodline. Most of the time, the power-laden packages were venerated in secret and in designated reliquaries, although the physical memorials could also be presented publicly on the occasion of traditional rituals of the clan community. In order to activate the connection with the ancestors and to obtain their goodwill, the relics were also taken out of their baskets and became the object of ritual offerings and libations. The guardian figurines were originally kept for generations, with reliquaries being abandoned, collected by missionaries and colonial officials, exchanged, or even destroyed as religious beliefs changed throughout the 19th and 20th centuries. Because the guardian figures were less sacred to the Kota than the relics, enterprising Kota at the same time also sold more or less skillfully executed relic figures, as well as those intended for the market, to interested art dealers and collectors. The time of origin of the specimen offered here, a head crowned by a magnificent coiffure with a concave face and a body reduced to the essentials, can be dated to the beginning of the last century due to its characteristics. Following the typification of Efraim Andersson (cf. Contribution ä l'ethnographie des Kuta. Uppsala University 1953), it belongs stylistically to the works of the Kota-Ndassa. The absence of the typical half-moon structure above the face is rare and found precisely on some Ndassa relic figures. An almost identical object is in the Brooklyn Museum in New York (inventory number probably #1537A), and an interesting comparison is offered by a specimen collected by Eduard Trezenem (1904-1957) before 1931 from the Musée du quai Branly in Paris (inv. no. 71.1931.87.19. The reverse, which always has a diamond shape in light relief and sometimes a small associated face in the form of a mask, was also left uncovered here. That Pablo Picasso himself owned two Kota reliquary figures in his collection of African art is not surprising. Works of art of this kind are among the most important sources of inspiration for the art of the 20th century: when Europe's artists began their search for liberation from occidental patterns of thought and art at the turn of the century, they favored a shift from perception-based to conceptual art. In the course of this debate, among other things, Cubism emerged as one of the important art movements of modernism. The avant-garde artists - among them André Derain, Maurice de Vlaminck, Henri Matisse - also received decisive inspiration from African works of art, such as those on display in France at the former Musée d'Ethnographie du Trocadéro in Paris. Further reading: - Chaffin, Alain & Françoise (1980). L'Art Kota. Les figures de reliquaire. Poitiers: Aubin. - Stepan, Peter (2006). Picasso's Collection of African and Oceanic Art. Masters of Metamorphosis. New York: Prestel. CHF 4 000 / 8 000 EUR 4 000 / 8 000

An ancient and important voodoo stake statuette of bewitchment and control, possibly related to fertility, appearing to wear a headdress, and a small earthen pot attached to the front that contained medicines recommended by the fetishist, an important skull at the back, We note the presence of a padlock fixed on the side which allowed a wish or a spell to be opened and closed at will, but whose access was finally blocked by an imposing attachment which no longer allowed access to the padlock, the spell thus being definitively sealed. Fon, Benin Wood, rope, bone, gourd, fur, cowrie shells, cloth, clay, padlock, sacrificial patina, very beautiful and old patina of use. H. 43 cm Provenance : Anne and Jacques Kerchache Collection. Exhibition and publication : Voodoo Exhibition, Paris, Fondation Cartier pour l'Art Contemporain, 2011, reproduced on pp. 148, 149, and 186.

A lot gathering an ancient Kanaga mask and a female statuette, both very characteristic. Dogon, Mali Wood, leather, visible accidents and erosions of age, small restoration (broken-glued), original piece, patina of use. H. 94 cm and 36 cm Provenance : Collection Nadine Vinot-Postry, Paris.

An imposing and ancient bracelet. Akha, Thailand Ivory, superb and old patina of use. D. 12 cm Provenance : Collection Nadine Vinot-Postry, Paris.

An ancient and very beautiful zoomorphic mortar in the shape of a stylized jaguar. The head and the tail of the jaguar are carved with volumes with totally flat faces without any recess or engraving, this pure style validating its antiquity. Transitional culture Valdivia-Chorrera, 1500 to 600 BC. Polished speckled stone, trace of deposits at the level of the mortar, beautiful old patina of use. H. 8 cm and L. 12 cm Provenance : Anne and Jacques Kerchache Collection.

A lot gathering a very beautiful fibula representing an ibex, two zoomorphic bronzes, and a small pendant. Luristan, ancient and medieval, Iran Bronzes, very beautiful green patina of oxidation of antiquity H. between 4 and 6 cm Provenance: Collection Nadine Vinot-Postry, Paris.

A lot gathering a couple of batéba, possibly of pumbira type with a very characteristic style, or it could also be a couple of thilbia for divination. See Lobi, visions d'Afrique, Éd. 5 Continents, 2007. Lobi, Burkina Faso Wood, beautiful patina of use. H. 11 cm and 11 cm Provenance: Collection Nadine Vinot-Postry, Paris.

A batch of two Ibedji statuettes. Yoruba, Nigeria Wood, and remnant of a bracelet of pearls, visible erosions and missing parts, beautiful patina of use. H. 25,5 and 26 cm Provenance : Collection Nadine Vinot-Postry, Paris.

Pair of Çanakkale jugs Ottoman Empire 19th c. Green glazed pottery with applications and painting. One piece with hairline crack Call date: 01.06.2023 Approximate call time: 09:28

An ancient male waka sona statuette, most likely an asia usu, with a beard formed of three braids and a superb hairstyle finely chiseled into a bun folded to the side. The body and forehead are scarified, and its style with half-moon eyes or its expressive mouth, or the position of its hands and handles, all confirm here, combined with its superb patina, a very beautiful archaic style of classical Baule art. Baule, Ivory Coast Wood, relics of sacrificial materials, accidents and small visible lacks (old breaks), very beautiful patina of use. H. 37 cm Provenance : - Sotheby's sale, New York, May 14, 1981, lot 177. - Collection Nadine Vinot-Postry, Paris.

*An ancient mask with round eyes and exophthalmos, probably encircled by metal, decorated with scarifications engraved on the forehead and also forming its arches, and bearing the mark of an ancient median scarification in addition on the forehead. Dan, Ivory Coast or Liberia Wood, iron, visible wear and damage by woodborers, very nice and old patina of use, an old collection number 4348. H. 23,5 cm Provenance : Nadine Vinot-Postry Collection, Cuernavaca. *This lot is sold in temporary importation.

*A very beautiful set of five miniature Tuphele statuettes tied together in a net, formerly part of a Ngombo Ya Cisuka divination basket. The statuette in the center represents a Cikunza mask bearer, the patron saint of the Mukanda initiation, very characteristic with his large, rising headdress evoking the horn of a hippotragus, as well as a double spoon with inverted spoons, and an inverted character that are characteristic elements of the occult language of divination among the Tchokwe. For a complete Tchokwe divination basket, see: Art and Oracle, The Metropolitan Museum of Art, New York, TMMOA ed., New York, 2000, pp. 46-47. Tchokwe, Angola Wood, cotton thread, vegetable fiber, visible accidents and small missing parts, beautiful patina of use. H. 7,8 cm Provenance : - Personal collection of Charles-Émile Thiébaud, collected between 1932 and 1933 during the second Swiss mission to Angola, see previous lot. - Swiss private collection. *This lot is sold as a temporary import.

An ancient classic pendant depicting an eagle or a bat, holding a prey in its mouth. For another pendant (described as an eagle) also holding prey in its mouth, in the collections of the Metropolitan Museum in New York, see: Gold of the Americas, ed. The Metropolitan Museum of Art, New York, 2002, reproduced on p. 45. Chiriqui culture, approximately 1000 to 1500 AD, Panama or Costa Rica Silver and gold alloy, lost wax casting, visible restorations notably at the neck and two suspension rings added at the back, otherwise old patina. H. 8,5 cm Provenance : Collection Nadine Vinot-Postry, Paris.

A lot of eight gold weights and zoomorphic pendants, including several fish (two published), a beautiful fish weight catfish, and another turtle-shaped superbly patinated by handling. Akan, Lobi, Ivory Coast Bronze, brass and other copper alloys, very nice patina from use. Dimensions : 3,5 to 12 cm Provenance: Collection Nadine Vinot-Postry, Paris. Publication: (Only for two fish-shaped weights): Golweights, Khepri & Guy Van Rijn ed., 1979, pp. 90-91, figs. 76 and 79.

*An old and very beautiful small tripod stool decorated with upholsterer's nails, its three bent legs all ending in a foot and giving it a vigor, a presence all surrealist. Hehe or Zaramo, Tanzania Wood, small accidents and visible missing parts, very nice patina of use. H. 22 cm Provenance : Nadine Vinot-Postry Collection, Cuernavaca. *This lot is sold in temporary importation.

An old and beautiful dish decorated with an engraved zoomorphic motif, the openwork nose serving as a tie. For another Lake Sentani dish with the same design and the raised carved head serving as a fastener, see: The Art of Lake Sentani, ed. The Museum of Primitive Art, New York, 1959, #65. Lake Sentani region, Papua New Guinea Wood, pigments, beautiful dry patina and old use. H. Height : 62,5 cm Provenance : Collection Nadine Vinot-Postry, Paris.

*A commemorative head called krinjabo of a recent style. Ashanti, Ghana or Ivory Coast Terracotta, small accidents H. 27 cm Provenance : Nadine Vinot-Postry Collection, Cuernavaca. *This lot is sold in temporary importation.

English workshop, traditionally known as the "Nottingham School", second half of the 15th century The Coronation of the Virgin Relief carved panel in polychromed and gilded alabaster, originally part of an altarpiece Size : 43 x 32 x 5,5 cm Restoration in the lower left part, uniformity with a light brown wash Provenance : private collection from Normandy, by descent. Comparative works: -England, ca. 1460-1490, The Swansea altarpiece, carved and painted alabaster panels in a painted and gilded wood frame, 83 x 216 cm, London, Victoria and Albert Museum, no. A.89:1 to 8, 10 to 15-1919 https://collections.vam.ac.uk/item/O70204/the-swansea-altarpiece-altarpiece-unknown/ -England, 15th century, The Assumption of the Virgin, polychrome alabaster panel, 41.9 x 26.7 cm, London Victoria and Albert Museum, no. A.32-1910. Related literature: -Markus Schlicht, "Standardization as a guarantee of commercial success? English alabasters of the late Middle Ages," in Perspective, Actualité en Histoire de l'art, no. 2, 2019, pp.179-194 ; - Zuleika Murat, English alabaster cavings and their cultural contexts, The Boydell Press, 2019; - Le retable en alabâtre des 7 joies de la Vierge, basilique Saint-Michel, Bordeaux, CIAP file, 2019 This alabaster panel of remarkable quality originally belonged to a devotional altarpiece produced by an English workshop in the 16th century. It depicts the Virgin seated in majesty in a mandorla flanked by six angels, those in the upper register in full crowning action. Kneeling to the left of the Virgin, St. Thomas receives the Virgin's belt, which slips from his waist through his robe. This iconographic detail usually belongs to the scene of the Assumption of the Virgin. Here the "image-maker" seems to have skilfully merged two scenes traditionally represented next to each other in altarpieces dedicated to the Seven Joys of the Virgin. Born in the 15th century in the Franciscan sphere, the devotion to the Seven Joys of the Virgin (Annunciation, Nativity, Adoration of the Magi, Resurrection of Christ, Ascension of Christ, Assumption of the Virgin, Coronation of the Virgin) was widely disseminated through alabaster works executed by English workshops, such as the altarpiece kept in the church of Saint-Michel in Bordeaux or the Swansea altarpiece kept in the Victoria and Albert Museum. As Markus Schlicht points out, the compositional changes in the Coronation of the Virgin (and here the merging of the two events of the Assumption and the Coronation) probably reflect important theological changes. The Virgin explicitly embodies the Church and the Papacy, as the crown, in the form of a papal tiara, suggests. The crowning, traditionally done by God the Father and Christ, is here done by two angels; the cut-out at the top indicates the presence of an upper register that could have been inhabited by a God in bust form, relegating the divine figure to the background, as could be seen in the scene of the Assumption in the church of Montreal (Yonne). This composition bears witness to a complex doctrinal formulation relayed by an image of great richness, supported by the polychromy and the variety of details. The decoration of the mandorla, composed of triangular motifs of various colors, is close to the most beautiful productions of the workshops of the so-called Nottingham School. Expert: Cabinet Lacroix - Jeannest

*An ancient mask with eyes encircled by tin, bearing carved scarification arches under the eyes and on the cheeks characteristic of its group, with subtle sculpting of the volumes of the cheekbones, the arches and a median ridge on the forehead. He still wears his old headdress of finely braided fibers. For two other Dan Toura masks, see : Trésors de la Côte d'Ivoire, Fonds Mercator, 2014, p. 48, n° 21 and n° 22. Dan Toura, Ivory Coast Hardwood, iron, vegetable fibers, small minor accident on the back, old patina of use. H. 24 cm Provenance : Nadine Vinot-Postry Collection, Cuernavaca. *This lot is sold in temporary importation.

*A very rare and ancient mask of the Bwami society sculpted in a calabash, with eyes, nose and mouth made of inlays giving it a presence that is both naïve but also very much alive, and having kept its ancient feather corolla attached by a braid of vegetable fibers. Other large idimu masks from the Bwami society are known to have been entirely encircled with feathers, such as this one, which comes from the former Jeanne Walschot and Denise Schwob collections, or another rare mask made of elephant hide from the former Jeff Vanderstraete collection. For the elephant leather mask decorated with feathers of the same type, see : D. Biebuyck, Léga. Ethique et beauté au cœur de l'Afrique, KBC / Snoeck-Ducaju, 2002, p. 115 n° 60. Léga, Democratic Republic of Congo Calabash, beads, bone, vegetable fibers, feathers H. 17 cm without feathers Provenance: Nadine Vinot-Postry Collection, Cuernavaca. *This lot is sold in temporary importation.

A chief's stool, a caryatid seat, the female subject scarified on the body and face, her sex largely sculpted, she wears bracelets and her intense gaze is inscribed in large arches that also define and mark her protruding cheekbones, one will note her powerful feet sculpted in large flat volumes also recalling the proximity with the Songye culture. For caryatid seats of the same type see : Sièges Africains, exhibition catalog, Réunion des Musées Nationaux and MNAAO, Éd. RMN, 1994, p. 187. Hemba / Luba, Democratic Republic of Congo Wood, nails, cracks and erosions of age, beautiful and old brown patina of use. H. 51,3 cm Provenance : Collection Nadine Vinot-Postry, Paris.

A beautiful hairpin characteristic of ancient traditions among the Baule or the Gouro. See for models of the same type in: Die Kunst der Gouro p. 31 - Museum Rietberg Zurich - Ed. Museum Rietberg Zurich 1985, or in Corps Sculptés Corps Parés Corps Masqués Chefs-d'Oeuvre de Côte d'Ivoire p. 205 - Paris Galerie Nationales du Grand Palais 1989 Ed. AFAA 1989. Baule or Gouro, Republic of Ivory Coast Ivory, very beautiful and old patina of use. H. 14,2 cm. D. :6,8 cm. Provenance : Collection Nadine Vinot-Postry, Paris.

A set of a whistle and a miniature biteki statuette. Tchokwe and Téké, Angola and Democratic Republic of Congo Wood, resin, patinas of use H. 6.5 cm and 11.5 cm Provenance: Collection Nadine Vinot-Postry, Paris.

A man's stool neck rest. Karamajong or Turkana, Ethiopia or Kenya Wood, iron, patina of use. H. :17,2 L. 27 cm Provenance : Collection Nadine Vinot-Postry, Paris. Exhibition : Majestic Gallery, J.-M. Huguenin, Paris.