Null Bapa Mene yam mask, Abelam population
Wosera area, Papua New Guinea

Braid…

Description

Bapa Mene yam mask, Abelam population Wosera area, Papua New Guinea Braided lygodium fern, pigments Dimensions 22 x 15cm Small, stylized anthropo-zoomorphic face, with a long vertical nasal bridge dividing the face into two parts, and hollowed-out, stretched eyes whose edges are enhanced by alternating pigment colors. Beautiful openwork crown headdress, made up of alternating triangular shapes.

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Bapa Mene yam mask, Abelam population Wosera area, Papua New Guinea Braided lygodium fern, pigments Dimensions 22 x 15cm Small, stylized anthropo-zoomorphic face, with a long vertical nasal bridge dividing the face into two parts, and hollowed-out, stretched eyes whose edges are enhanced by alternating pigment colors. Beautiful openwork crown headdress, made up of alternating triangular shapes.

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Estim. 24 000 - 30 000 EUR

A highly significant, large lidded bowl opon igede or igbaje ifa by Areogun von Osi (ca. 1880 - 1954). Yoruba, Nigeria. H 60cm, ø 53.5cm. Richly carved with figures from mythology and everyday life (inv. no. 5845). His most popular themes were the equestrian figure with rifle or spear accompanied by several figures or the mother with child. There were greater possibilities for variation in the relief carving, which he exploited to the full, particularly in the palace doors and bowls - such as the one offered here: the Islamic conqueror, the cyclist, the woman with a calabash full of yams or the woman having problems with two men. Illustrated in: K. Carroll, Yoruba Religious Carvings, Pagan and Christian Sculpture in Nigeria and Dahomey (1967) fig. 48 (in situ, text, p. 161); K.-F. Schaedler, Encyclopedia of African Art and Culture (2009) p. 36. A similar lidded bowl, apparently badly damaged (handle missing), is said to be in Ilorin (Nigeria Magazine no. 77, June 1963, p. 126). Another, very similar lidded bowl from his workshop is illustrated in W.B. Fagg, Yoruba, Sculpture of West Africa (1982) pp. 161f. Areogun of Osi (actually: Dada Arowogun Bunna) from Ilorin in the Ekiti region in north-eastern Nigeria, is considered one of the most important Yoruba master carvers alongside Olowe of Ise. Like his colleague Olowe, Areogun worked mainly for the royal courts and for the Gelede cult, which uses the large epa masks in Ekiti. Areogun studied under Bamgbose of Osi, with whom he worked for sixteen years as an apprentice and assistant. He was a member of several secret covenant organizations, including the famous Ogboni Society. Under the influence of some of the most important African artists, also known abroad, such as Roti, Baba Oloja of Isare and Roti Alari of Ikerin, he was able to fully develop his creative power and talent. Black, thick encrusted patina, insignificantly damaged, otherwise intact. Provenance: Ex Coll. Gert Stoll, Berchtesgaden.

Estim. 800 - 1 000 EUR

Abstract buffalo mask. Chamba, Nigeria. H 66cm. With curved horns and rectangular open mouth; incised dotted circles and angular ornaments. The buffalo masks have various names and are danced at important ceremonies, e.g. funerals, rites of passage or the enthronement of a new king. As a rule, animal masks do not owe their existence to the arbitrariness of a nganga (healer) or a ritual master, but always to a specific historical event, linked to corresponding mythology. This abstract mask, which is particularly sought after because of its artistic conception and great rarity, and whose cult has been able to survive thanks to the retreat area of north-eastern Nigeria and the minimal population, has been especially decorated with circle-dot ornaments. Traces of use and termites, especially on the lower rim; brownish, partly shiny, partly encrusted sacrificial patina, intact. Provenance: ex Gorny and Mosch, auction 283, December 15, 2021, lot 416; ex coll. Jo Christiaens, Belgium; ex Roudillon, Paris.

Estim. 200 - 250 EUR

Masque Papou

Estim. 400 - 500 EUR

Caroline BIZIEN, born 1993 DZ-TX, 2024 Four-color Fine Art print on Fedrigoni Arena Smooth 300g/m2 paper. Single copy, signed lower right. 50 x 70 cm The Dz-tx poster humorously highlights the adaptability of the Breton people through two historical episodes: the exodus of the population of central Brittany to the United States in the 19th and 20th centuries, and the consequences of the sardine crisis of 1902, which led part of the fishing population to convert to textile production. The loup de mer is reinvented as a cowboy, a bordeur, or simply as an American cousin from the diaspora. --- Caroline BIZIEN, born 1993 Author and illustrator, born in Quimper. After studying at ENSAD in Paris, including a year as an exchange student at the School of the Art Institute in Chicago, where she studied with comic book artist Chris Ware, she graduated in the Printed Image section. Chris Ware, she graduated from the Printed Image section. Passionate about storytelling and arts and crafts, she regularly collaborates with young brands, public institutions, the press, audiovisual production and associations. Her acti vity enables her to constantly reinvent her technical and aesthetic approach, through encounters and residencies that have led her to explore a wide range of territories. her to explore many different regions (Jura, Allier, Belgium...). Her attachment to Brittany and Finistère remains intact, however, as she lives and works in her native town. Here, she finds fertile ground for her imagination, for the oral sharing of a tradition of fiction, sometimes embellished, sometimes exaggerated, that infuses both landscape and heritage. She therefore decided, on the occasion of the Ar Seiz Avel initiative, to carry out a naturalistic and patrimonial research project which would the opportunity to collect and restore these stories to their rightful place in our contemporary collective imagination. Between humor and poetry, the two series pay tribute to Brittany and the Brittany and the Seiz Breur movement: to their range of practices, their bold palette and their sharp lines.

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