Null Moka kina, Western Highlands Province, Melpa population, Mount Hagen
Papua …

Description

Moka kina, Western Highlands Province, Melpa population, Mount Hagen Papua New Guinea Large pearl oyster mother-of-pearl, pigment, red ochre orchid fiber, resin, bamboo. Height: 34.5cm The origin of the Moka Kina is thought to be associated with dances in preparation for combat, this chest ornament or pectoral was traditionally worn by men during certain festivals in the Wihgi valley, in the western highlands of New Guinea. The kina shell, an important part of this device, is highly prized. Circular in shape, its intense red ochre color enhances the crescent-shaped unbleached mother-of-pearl.

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Moka kina, Western Highlands Province, Melpa population, Mount Hagen Papua New Guinea Large pearl oyster mother-of-pearl, pigment, red ochre orchid fiber, resin, bamboo. Height: 34.5cm The origin of the Moka Kina is thought to be associated with dances in preparation for combat, this chest ornament or pectoral was traditionally worn by men during certain festivals in the Wihgi valley, in the western highlands of New Guinea. The kina shell, an important part of this device, is highly prized. Circular in shape, its intense red ochre color enhances the crescent-shaped unbleached mother-of-pearl.

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Estim. 1 200 - 1 500 EUR

Great head of the Nok culture. Nigeria. H with stand 32cm, H without stand 25cm, made of beige-brownish mottled terracotta with elaborate piled-up coiffure with side braids, pierced eyes and nostrils. The head was apparently recovered broken and has not been restored. This head probably comes from the same archaeological site as the previous number. For a long time it was controversial to speak of Nok as a culture due to a lack of knowledge about the economic and settlement methods of the prehistoric population, as there is no documentation on the circumstances under which most Nok figurines were found. As a rule, the place of discovery is also unknown. Settlement remains have also not been researched or published. In contrast to Europe, archaeological work in Africa is therefore particularly difficult and almost exclusively limited to chance finds. One such chance discovery in the 1940s brought to light the earliest evidence of black African sculpture outside Egypt. After the discovery of the first clay head in the Jaba village of the same name in the Zaria Province of Nigeria, which had already been discovered in 1944 as a scarecrow (!) and which had been shown to archaeologist Bernard Fagg, he became aware of a second head that was brought to him. He called this culture Nok. However, it was William Buller Fagg, his older brother, who arranged for the heads to be shown in the exhibition of the Royal Anthropological Institute of Great Britain Traditional Art from the British Colonies in London in 1949. A characteristic feature of the Nok sculptures are the elliptical to triangular eyes, whose pupils, like the nostrils, are usually pierced. A great wealth of imagination is evident in the design of the extravagant hairstyles, as well as in other individual features such as jewelry or other accessories. In terms of cultural history, the creations of the Nok culture are remarkable because on the one hand they combine a great diversity of conceptual form with a relatively continuous unity of style, but on the other hand they show a tendency to emphasize the head, as is so widespread in more recent African art. As in almost all parts of the world, however, it is precisely terracotta and metal finds that can shed light on the artistic statements of past cultures. Fragmentary. Provenance: Ex Coll. Mareidi and Gert Stoll, Munich, in Germany since the mid to late 1960s.

Estim. 3 000 - 4 000 EUR

Archive deriving from the personal collection of Olympian boxer Wilbert ‘Skeeter’ McClure (1938-2020), who won a gold medal in the light middleweight division at the Rome 1960 Summer Olympics. The archive, which contains ephemera and personal effects like scrapbooks, awards, correspondence, and souvenirs dating to his time as an AAU and Olympic champion, is highlighted by an official 1996 Atlanta Summer Olympics torch that McClure used during the torch relay of the Centennial Olympic Games. Designed by Peter Mastrogiannis, the torch is constructed of gold-plated brass, aluminum, and Georgian pecan hardwood, and measures 31.75″ in length and 2.5″ at its widest point. The base of the handle bears a label numbered “139” and annotated “McClure, Boston.” The body bears some light scuffs and marks and the top bears evidence of onetime exposure to the Olympic flame. On June 15, 1996, the Olympic torch passed through Boston, Massachusetts, tracing the familiar Boston Marathon route as part of the flame's 84-day, 15,000-mile journey to the Games in Atlanta. McClure was one of some 75 torchbearers—Olympians, handicapped athletes and marathon veterans, and community heroes—who carried the flame along the marathon route from Hopkinton to Boston. Other notable artifacts include: A participation pin from the Rome 1960 Summer Olympics. Made by Bertoni of Milan, the gold-tone pin features the Olympic rings against an Olympic torch marked “1960.” Complete with its original paper backing issued as “50464” and its white vinyl presentation pouch made by Bertoni, which bears an affixed label and light overall wear. These pins were issued retroactively to Olympians in the 1980s. Accompanied by a second edition of the souvenir book Olympiad 1960. Two “Olympic Boxing” schedules for the American boxing trials held at the Cow Palace in San Francisco on May 18 and 19, 1960, displaying the match-ups by weight class for the first and second days; of particular interest, in addition to listing McClure in the 156-pound division, is the mention of eventual gold medal winners “Cassius Clay,” aka Muhammad Ali, and Eddie Crook, Jr. for their respective 156 and 178-pound class. A press release from the University of Wisconsin Sports News Service for April 28, 1959, listing the schedule of boxing matches for the Pan American Amateur Boxing Trials, which lists McClure in the 156-pound division and Cassius Clay in the 178-pound weight class. A stapled program packet for the boxing schedule of the Rome Olympics held at Palazzo dello Sport on September 1, 1960, which lists Clay as a winner in the quarterfinals against Gennady Shatkov. Lot of three vintage glossy 3.25 x 3.25 candid photos of McClure either boxing or training, and a vintage glossy 3.5 x 5.5 postcard photo of McClure at the Frankfurt Airport after winning gold at the Olympics. The reverse of each photo is signed by McClure, who adds notes to the candid photos and a letter to his parents to the postcard; the reverse of the training photo reads: “My coach, Buddy Carr, showing me some of my mistakes and working hard to get me ready for the Olympics.” Six letters, cards, and Western Union telegrams sent to McClure in the mid and late 1950s, the highlight of which is a telegram from his manager on April 10, 1956, which reads; “It isn’t the man in the fight, it’s the fight in the man, go get it.” Group of five vintage scrapbooks compiled by McClure between 1952 and 1960, containing an assortment of newspaper and magazine clippings documenting his rise from an up-and-coming amateur fighter to a gold medal-winning Olympic champion. Eight boxing-related pins, including two Golden Gloves pins, two USA Boxing pins, an AAU USA pin, a Toledo pin, a Colorado Amateur Sports Association pin, and a Team USA Olympic pin. Several boxing awards presented to McClure, such as a 1961 citation from the “Northern Province of the Kappa Alpha Psi Fraternity,” two Olympic Brother Awards, an achievement award from La Belle Fashion, and more. Sundry AAU-related items like a judging sheet for a bout between McClure and Huery Reed, a list of matches for “A.A.U Championship Bouts” on March 17, 1956, an official’s pass for the United States National Championships held at the Boston Garden from April 9-11, 1956, an official AAU Boxing Rules booklet from 1961, picturing McClure on the cover, and a pamphlet for fights at the Akron Armory on April 21, 1964. In overall very good to fine condition.

Estim. 120 - 250 EUR

HESSELN (Robert de): Dictionnaire universel de la France contenant la description géographique & historique des provinces, villes, bourgs & lieux remarquables du royaume ; l'état de la population actuelle, de son clergé, de ses troupes, de sa marine, de ses finances, de ses tribunaux, & des autres parties du gouvernement : together the abridged history of France, divided under the three races of our kings; detailed information on the productions of the soil, the industry & commerce of the inhabitants; on the dignities & great offices of the State; on the offices of the judiciary & military posts; as well as on those of all the other branches of administration. Avec un grand nombre de tables qui rassemblent, sous un même coup d'oeil, les divers districts ou arrondissemens du gouvernement ecclésiastique, civil & militaire. Paris, Desaint, 1771. 6 volumes. 10.5 by 16.5 cm. XVI-664; (4)-680; 675; (4)-714; (4)-659; (4)-645-(2) pages. Contemporary full calf, spine with 5 ornate bands, red title page. Minor defects (one headband worn, a few corners slightly dulled, three small wormholes on bindings). Some foxing, discreet traces of dampness, interior acceptable. First edition. Conlon 71: 1021; INED 2270. Robert de Hesseln, geographer and royal censor, was behind a cadastral project that never saw the light of day. Here, he provides a remarkable, excessively detailed overview of everything that can be considered administrative, in addition to the geographical part. An important documentary source.

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