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Art from Africa & Oceania

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Salle 7 - Hôtel Drouot - 9, rue Drouot 75009 Paris, France
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samedi 15 juin - 11:00/18:00, Salle 7 - Hôtel Drouot
lundi 17 juin - 11:00/18:00, Salle 7 - Hôtel Drouot
mardi 18 juin - 11:00/12:00, Salle 7 - Hôtel Drouot
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Lot 10 - Senoufo kpelie mask Ivory Coast Wood Provenance: John J. Klejman Collection, New York Perls Galleries, New York (inv. n°10759) Private American collection In keeping with the classical style of the corpus, this Kpelie face mask stands out for the delicacy and refinement of its features - for the boldness of its contours and reliefs magnified by the lighter patina of use, for the sculptural dynamics and interiorized expression of the entity represented. Skillfully combining grace, symmetry and sophistication, this type of mask contained the ancestral spirit of the female divinity protecting the male society of the Poro. Material embodiments of the spirit of the "old mother" named Katiéléo - the female substitute for the supreme god in Senoufo mythology - these masks were used for the initiation of young men and at funerals. The oval face is beautifully framed by stylized lateral projections - semicircular, rectangular and triangular, finely engraved with linear grooves and notches. The lower part of the face is adorned with two equally scarified curved elements, probably evoking the legs of the hornbill bird, an important symbol of creation in Senoufo cosmology. The face is a perfect oval, the sculptural depth rendered by alternating concave and convex planes. The strongly rounded forehead, crossed across its entire width by two horizontal linear motifs, is adorned in its center with a diamond-shaped motif sculpted in relief, expressing the femininity contained in the spirit of the mask - Anita Glaze saw in it an allegorical representation of the female vulva, a symbol of fertility. Relief eyes, stretched and slit, surmounted by a double arch of eyebrows carved in a circular arc. Geometric motifs in relief on the cheeks indicate ethnic scarification. The long, straight, aquiline nose, sculpted in high relief, harmoniously follows the concave curve of the face, whose curved tip accommodates the small, half-open rectangular mouth with exposed teeth, whose corners are framed by relief motifs. The highly stylized crest, carved above the skull in the classic kapok tree rasp motif, adds to this profusion of controlled ornamentation. A fine example, a perfect blend of classical Senoufo aesthetics and symbolism, illustrating the quintessential African sculptural style.

Estim. 4 000 - 6 000 EUR

Lot 12 - Seated female Bete figure, Ivory Coast 19th - early 20th century Wood, pigment - Missing arm - Restoration Height: 44 cm Provenance: Acquired from Yves Créhalet, Paris on February 7, 2011 Patrick Varnier, Paris, France In Bété country, standing statues are a rarity. Fascinating, captivating and intriguing, they remain mysterious. According to the limited fieldwork carried out, first by Denise Paulme in 1962, then in 1968 by Bohumil Holas, the statuary was only used in the Gagnoa region, not far from the Gagu and Guro countries: one was found near Ouragahio (Verger- Fèvre in Barbier-Barbier, 1993, vol. I, p. 90). The fact that it exists only in the cult area of Gagnoa would explain the stylistic similarities with the statuary of its Guro neighbors (Fischer and Homberger 1985, p. 228). Exclusively feminine, Bété statuary is, according to Holas, the representation of a deceased grandmother. This effigy, "the receptacle of the living fluid" of the deceased, was kept by her closest relative. "It was sometimes replaced by a wood-carved figurine, called a kouéi or yousrokpo, depending on the fraction. This latter case, however, is rare among the Bété" (Holas, L'image du monde bété, 1968). Honoring the woman, commemorating her image, her importance, receptacle of the between two worlds, that of the living and the beyond, this work is imbued with a deep, solemn dignity, reinforced by the seated, balanced stature of the figure, whose features suggest quietude, peace and serenity. The majesty of the embodied figure, revealed in his gestures, the hand delicately resting on the knee, in his refined finery suggesting his status: bracelets, triangular necklace, scarified belt around the umbilicus, sophisticated headdress made up of triangular engravings. The soft, rounded contours of her shoulders, biceps and calves lend a fluid harmony to the whole. The oval face, with its idealized naturalistic features, meticulously drawn, testifies to the sculptor's high degree of technical skill. The closed, drooping eyes suggest interiority. The triangular nose in relief, the mouth with thin lips sketches a benevolent smile. A rare and beautiful example, with a deep black patina that matches the strength of dignity and serenity that emanates from this work. In 1964, William Fagg included the Bété female statue from the Musée des Civilisations de Côte d'Ivoire (inv. N° 50.2.229). In the accompanying catalog, Fagg stresses the "paucity of information about [the Bété]" and "the rarity of classified specimens of their art" (Fagg, Afrique. 100 tribus, 100 chefs-d'oeuvre, 1964, p. 18).

Estim. 4 000 - 6 000 EUR

Lot 13 - Hogon Dogon Mali bowl cover Dimensions: 54.5 x 23 x 25 cm Provenance: Private collection, France Private collection, France Christine Valluet Collection, France Galerie Schoffel de Fabry, France This ceremonial bowl lid from the northwestern northwest of the Bandiagara Plateau, in the region centered on Fombori and the Douenza, belongs to a rare and restricted corpus of cups surmounted by an equestrian figure, commonly referred to as the Hogon bowl. The Hogon, an eminent religious leader and a figure invested with power and authority, was rare. Intended to contain the food shared during his investiture and major ceremonies. This sacred object, of which only twenty or so exist, is intimately linked to the person of the Hogon or ôgô, the man who, in the eyes of his community, became the high priest of the Lêwe (or Lèbè), spiritual sovereign and "living ancestor" designated by his fellow men by virtue of his birthright. All that remains of this cup is the finely engraved lid, with symbolic chevron motifs relating to water, the source of the earth's fertility. "Serving agrarian cults, its nature is that of the Earth, feminine when it is fertile, masculine when, during the long weeks preceding the wintering season, it is nothing but aridity". The animated top features a tall man on horseback, his arm brandishing a vanished spear. The Djennenké, who immigrated to the Bandiagara plateau around 1475, were undoubtedly responsible for the adoption of the Moorish horse, the only horse to have acclimatized to the harsh environment of the Sudanese savannah and, above all, to have resisted trypanosomiasis. A mode of transport favoured by the Dogon, who inspired the cliff sculptors who engraved its image in all kinds of materials, at different times, in a wide variety of styles and on a wide variety of supports. The animal embodies the Nommo, son of God, sacrificed and resurrected, brought down to earth in an ark (Paudrat, J.-L., Dogon, Paris, 1994, p. 72) (aduno koro) in the company of the eight primordial ancestors of mankind. He is often depicted with his rider, the Hogon, "natural high priest of the ancestral spirits [...] in the past, his power was absolute as a great political, judicial and religious leader." (Desplagnes, L., Le Plateau Central Nigérien, Paris, 1907, p. 314). There has since been a broad consensus that this Hogon is the horseman depicted on the lid of the bowl studied here, and its exclusive user, particularly during ceremonies involving the sharing of food. The image of the horseman is associated with the power of the Hogon and his powers. The work's great classicism is matched by the singular detail of the rider raising his left arm, and the dark, oily patina that bears witness to its archaism. Numerous native repairs, notably to the back of the animal's tail, reveal the desire to preserve this sacred cup from the ravages of time, in order to pass it on to descendants. This type of bowl is not unique, but Tristan Tzara and Michel Périnet Tzara and Michel Périnet collected them. The richness of its decoration, where chevrons blend with water lines and other traditional motifs, the perfect balance of the composition and the precision of the line are sublimated by a deep, shiny, velvety patina 1Complete legend: "Container carried by a quadruped and closed by a lid carved from the same piece of wood as the mount and rider that decorate it" in Level, A. and Clouzot, H., Sculptures africaines et océaniennes. Colonies françaises et Congo belge, Paris, 1923, p. 21, pl. XIX

Estim. 15 000 - 30 000 EUR

Lot 17 - Spatula, Kitava Island, Trobriand Archipelago Papua New Guinea Ebony wood Height: 34.5 cm 19th century Provenance: Unknown collector's label 'M22'. Collection John & Marcia Friede, Rye, New York, USA Bibliography: Galerie Franck Marcelin, Lime spatulas from Mélanésie, 2013, reproduced under no. 3 Within the large corpus of carved spatulas from South-East Papua New Guinea, this beautiful spatula belongs to the category of House Keepers. Their function, as Franck Marcelin explains, "is to protect their owners from supernatural threats". (In Spatules à chaux de Melanesia, 2013) According to accounts by the Trobriand chief Narubutau, recounted by Harry Beran, it was possible for the owner of an anthropomorphic spatula, endowed with magical powers, to invite a tokwai tree spirit to incarnate in the spatula. This practice was intended to protect against spells and witchcraft. While the spatula's function was more symbolic and apotropaic than utilitarian, the less elaborate examples were used in everyday life to prepare the mixture of lime, areca nut and betel leaf. Betel chewing has many benefits, including reducing hunger, producing a feeling of well-being and increasing work capacity. The tapered spatula, with its rounded tip and delicate central rib, features a crouching human figure carved in the round at the top. This anthropomorphic handle, whose dense, complex sculptural style is characteristic of this region of the Trobriand Islands, contrasts with the purity and elegance of the blade. The figure is depicted crouching, elbows resting on his knees, hands tucked under his chin. The composition is organized around alternating voids and solids, curved and organic forms, whose relief is rendered by the scrolling motifs engraved on the surface.

Estim. 1 800 - 2 000 EUR

Lot 20 - Drum mallet, Woguma population, Papua New Guinea Called mi ras or ga'hei Height: 49 cm Provenance: - Collected by Douglas Newton in 1967 in the village of Yambunumbu at the mouth of the April River. - The Jolika collection of John & Marcia Friede. USA Literature: Douglas Newton. Crocodile and Cassowary. Museum of Primitive art, New York. 1971. Illustrated page 57 n°94 Exhibition: Ritual art of the Upper Sepik River, New Guinea. Museum of primitive art, New York. February-May 1969 For the Woguma people, both the drum and the mallet are particularly sacred objects. They represent the feminine spirit of water. The drum symbolizes the pirogue and the mallet the paddle, both intimately linked in their symbolism and use, the mallet making the drum resonate. Kept out of sight of the women, who were not to know who, in the men's house, was making the voice of the ancestors resound. Resting on a circular base, cylindrical in shape and tapering at the end, the drum is engraved with a finely schematized face. This drum has a beautiful patina of use, as well as traces of jolting attesting to its repeated use. Collected by Douglas Newton (1920-2001), who joined the Museum of Primitive Art in 1960 as assistant curator. Deputy Director in 1974, he became Chief Curator of the Department of the Arts of Africa, Oceania and the America after the transfer of the collections to the M.E.T.. He made five trips to Papua New Guinea from 1964 onwards, from which he brought back this mallet.

Estim. 1 200 - 1 500 EUR

Lot 24 - Ngnuzunguzu pirogue bow ornament, New Georgia Island Solomon Islands Wood, parinarium nut resin, nautilus mother-of-pearl Height: 20 cm Provenance: Private collection - Private collection France Hanging from the bow of a pirogue during an expedition, "the nguzunguzu... was supposed to observe, intercept, react and interact with any malevolent spirits encountered during the voyage. These little figures were essential to the success of the headhunting expeditions to the neighboring islands, which played a central role in the religious, economic and political life of the Solomon Islands before the British pacified the islands at the turn of the 20th century. E. Hviding, Les vies des nguzunguzu. Figures de proue de Nouvelle-Géorgie, L'Eclat des ombres, l'art en noir et blanc des Solomon Islands, 2014, p.124 More importantly, the nguzunguzu served to protect individuals against the Kesoko spirit, omnipresent during sea voyages, which prevented all human action, and whose destructive power was activated only if someone blinked. The nguzunguzu's intense, fixed gaze, his large eyes always open, guaranteed protection. The small dimensions that distinguish this ngnuzunguzu exacerbate its fine sculptural qualities: delicate modeling and fine mother-of-pearl inlays contrast with the depth of the dark patina. Classical styling: head with prognathic chin supported by fists in the extension of outstretched arms. This figurehead is characterized by the lack of the mother-of-pearl inlay band that adorns many Nguzunguzu. A similar model was donated by Sir William Macgregor in 1920 to the Anthropological Museum in Aberdeen. More importantly, the nguzunguzu served to protect individuals against the Kesoko spirit, omnipresent on sea voyages, which prevented all human action, and whose destructive power was activated only if someone blinked. The nguzunguzu's intense, fixed gaze, his large eyes always open, guaranteed total protection.

Estim. 8 000 - 10 000 EUR

Lot 28 - Warrumbi war shield, Mendi population, Nembi Valley, Southern Highlands. Wood, pigments, lime, fiber. Height: 1.21 m / Width: 0.48m Provenance: - Former Marie Josée Guigues Collection - Padovani Collection Unlike the majority of shields from Papua New Guinea New Guinea, the manufacture of which generally involved engraving, some Highland shields stand out from the traditional classical corpus, offering polychrome surfaces, painted with abstract and geometric motifs, such as this beautiful shield. Two symmetrically arranged triangles on either side of a central horizontal band stand out from the flat surface, whose red color symbolizes victory and blood. These darker geometrical elements, whose contours are highlighted with white paint, symbolically represent the human figure. Among the warrior's attributes, the shield was the most important. The name warrumbi - literally "wall of the war tree" - comes from the wood from which these shields are made, and whose name means "war". Beyond their purely defensive function, these objects concentrated, through their colors and ornamentation, a powerful magical and spiritual force. Carl Einstein foresaw the highly symbolic dimension of Oceanian shields, which, "adorned with symbols, [...] always represent and signify something specific and are perhaps intended to capture certain forces." (Carl Einstein, in "La statuaire des mers du Sud", 1926) The ornamental character of Highland shields can be interpreted as an extension of the polychrome body painting that, among the Mendi people Mendi people, play an important role in ceremonies, linking the owner to a group and an identity. A resolutely modernist weapon of symbolism and identity, whose shapes and colors are reminiscent of certain works by Wassily Kandinsky.

Estim. 1 500 - 2 000 EUR

Lot 29 - Timbu Wara emblem Wiru population, Pangia region. Southern Highlands Highlands Province, Papua New Guinea Plant fiber basketry, ochre clay pigment. Size: 102 x 63 cm Framed: 116 x 75cm Provenance: Daniel Vigne Collection, Uzès Daniel Vigne Collection, Uzès Before the era of first contact with Westerners, various spiritual cults governed societies in the southern Highlands. The Wiru, who lived in the Pangia region, created flat woven figurines known as timbu wara, as part of their "timbu" cult. The term Timbu means "sky", so the cult may have a link with the mythical "Sky Beings", considered important in Highland cosmology, feared and respected by men, while the term Wara has two translations, "spear" and "guardian", suggesting an idea of strength and protection. This important wickerwork figure takes the form of a two-dimensional anthropomorphic figure, with a massive trunk pierced by a hole to mark the umbilicus, long limbs and slightly raised arms. The ovoid head, framed by circular ears, features a central, hollowed-out orifice signifying the mouth. The schematic features, reduced to their simplified forms, reinforce the importance of the geometric motifs - lozenges, semi-circles, lines - drawn with ochre clay pigments all over the body. These figurines, fashioned from plant fibers, can embody a variety of forms - anthropomorphic and zoomorphic - and are thus essentially linked to nature. The timbu fertility cult, a ceremonial cycle performed every five to eight years, had the function of "restoring the ecological balance and fertility of man, pig and earth." (Pamela J Stewart & Andrew Strathern, "Timbu wara figures from Pangia, Papua New Guinea", Records of the South Australian Museum, vol 34, no 2, 2001, pp 65-77). A cult building was built around a central tungi pole, to which pig jaws had been attached. The ritual culminated in a dance performed by the men around the tungi, wearing the famous timbuwara effigies on their heads, before moving the pole. These wickerwork figures, known as Timbu wara, were made in the Pangia region Pangia region in the southern Highlands. Periodically, at intervals of five to eight years, the Timbu cult was part of a ceremonial cycle involving the killing of several hundred pigs.At the end of this cycle, men danced with these emblems placed vertically on their heads.The aim of this cult was to restore ecological balance and fertility to humans, pigs and lands endowed with abundant gardens, taro, bananas and sweet potatoes.After the ritual, these anthropomorphic figurines, supposed to represent the spirits of deceased women, were kept in the men's house, fixed to a central post (tungi) on which were also hung the jaws of pigs sacrificed to the Timbu spirit. The term Timbu means "sky", so the cult may have a link with the mythical "Sky Beings" considered important in Highland cosmology.

Estim. 2 000 - 2 500 EUR

Lot 31 - Dance paddle, Buka Island, Solomon Islands Wood, pigments Height: 126 cm Provenance: Franck Bolger Collection (1832-1912), then by descent. French private collection The art of the northern Solomon Islands is marked by the mythical entity kokorra, a supernatural being with a human appearance, whose representation constitutes the most important motif in Buka art. The majesty and refinement of this ceremonial dance paddle are evident in the striking aesthetic contrast between the pared-down shape of the blade, and the meticulous carving in the round at the top representing the kokorra effigy. The narrow, lanky head features a face of marked expressivity, animated by large circular black rimmed eyes, a long nose and a small, prognathic mouth. The figure's body is stylized and adorned with complex geometric motifs. The skull is classically topped by an impressive foliate ritual headdress, reminiscent of the hassebou hairstyles traditionally worn by men of the ruk-ruk male secret society, underlining the sacred connection between the divine entity and the initiates. The pointed protrusions around the ears could be ornaments. Beatrice Blackwood reported in 1935 that certain local men, whom she referred to as "dandies", attached live butterflies behind their ears... ("Both Side of Buka Passage",1935) The harmony and balance of the forms testify to a remarkable plastic coherence. The domed crest evokes the finesse of the blade tip, while the black-tinted lower section echoes the effigy's pointed black skull. The sober elegance of the blade, whose beauty is accentuated by a honey-colored lustrous patina, and the fine craftsmanship of the kokorra effigy, testify to the high status of the ceremonial paddle's owner. In addition to their primary function as paddles, these paddles were also objects of power and social prestige, and had multiple uses. They appeared in a ceremonial context, during danced performances at various events such as boat inauguration ceremonies or dignitary weddings, accompanied by music and accessories (spears, branches, etc.). Important personal attributes linked to social status, these paddles were buried and burned with their owner, along with various other objects intended to accompany the deceased into the world beyond.

Estim. 3 000 - 6 000 EUR

Lot 32 - Club Taiaha Maori Wood, pigments, feathers, plant fibers Height: 166 cm Provenance: Private collection, Vancouver Private collection, Vancouver French private collection Distinguished by its exceptionally well-preserved feather ornament, this two-handed taiaha club is a marvellous embodiment of the Maori artistic tradition, where the practice of art majestically converges with that of war. Legend has it that the god of war ???? commissioned ??????????????????????????, the weapon-maker to the gods, to create the most powerful weapon in the world. Thus was created Akerautangi, the father of all taiaha. This work corresponds to the classic ethetics of taiaha clubs, as described by Augustus Hamilton in 1896: "rau, the flat, smooth blade; tinana, the rounded-section handle; upoko, the sculpted human head - the shape of which is listed by H.D Skinner as "classic" ("The Two-Handed Clubs of the Maoris", 1918), the face featuring two circular eyes with black pupils, one of which retains the mother-of-pearl inlay of the paua shell; and arero, the pointed tip carved into a stylized, oversized tongue, adorned with scroll-like relief motifs. Evoking the defiant gesture of Maori warriors, the tongue motif symbolizes the spiritual energy known as mana. The rare tauri ruff is preserved here, traditionally woven on a base of linen fibers and adorned with feathers and/or dog hair. The purpose of these ornaments was to distract the opponent with their beauty, or more trivially, to absorb his blood during combat. The scarlet feathers came mainly from the kaka bird, but also from a dozen other birds, whose beautiful plumage contributed to the weapon's magnificence and effectiveness.

Estim. 5 000 - 7 000 EUR

Lot 33 - Vuvi mask, Gabon Wood, pigments, plant fibers Height: 24 cm Provenance: Private collection, France Private collection, France The Vuvi masks of the Bantu people, isolated in the mountainous Chaillu massif, have long remained mysterious and little-known. Through the abstraction of their features and the serenity that emanates from them, they resemble the white masks of the Fang and Tsogho peoples, whose cultural universe they share. Characterized, according to Charlotte Grand-Dufay, by "their 'almost flat' face in the shape of a shield, rectangular or oval, and by the facial features concentrated in the upper part [...]. They represent mythical-legendary entities, such as the white mask representing the moon [and belong] to the initiatory societies of Bwete Disumba and Mureli" (Charlotte Grand-Dufay, Tribal Art, 2013. See Les forêts natales - Arts de l'Afrique équatoriale atlantique (2017, p. 324) they appeared at the funerals of important per- sonners, evoking the world beyond, and making the link between departed beings and their descendants. This is a rare example, with a flat, elongated face and thick, flattened facial elements in very slight relief, enhanced with dark brown pigments. The nose is blunt, linked to imposing, arched superciliary arches that span the entire width of the mask. The calmness and serenity of its expressivity are reinforced by the half-closed, slightly incised eyes with hemmed edges. A brown patina varying from dark to orange enlivens the surface. The periphery of the face has retained its rich ornamentation of plant fibers.

Estim. 1 500 - 2 000 EUR

Lot 35 - Punu mask, Gabon Wood Dimensions: 30.5 x 15 x 16.5 cm Provenance: Private collection, France Private collection, France An essential emblem of African art since the late 19th century, the Punu mask corpus was one of the first to be celebrated by modernists (William Rubin "Primitivism" in 20th Century Art, 1984, p. 300). The Okuyi mask was worn during acrobatic dances by men perched on stilts, and the existence of these rituals was reported as early as the mid-19th century by explorer Paul du Chaillu. Their beauty is an echo, a hymn, a resonance to the power and importance of women in Punu social organization. Subtly embodying, in turn, the spirit of the ancestor and feminine beauty, this mask's idealized appearance, softness and beauty combine and celebrate two opposing entities, two dualities: youth and death, sensual beauty and the serenity of the ancestor and the spirit world. Distinct from the classical corpus, the face and surface traditionally powdered with kaolin, in this rare example presents a light brown patina, almost honey depending on the light. The uniform softness of this color is matched by its curves and delicate features, imbued with a deep quietude, a gentle serenity. A sensitive gaze, underlined by slightly raised, arched eyebrows, her half-closed, finely scarified "coffee bean" eyes express and symbolize an inner vision, a link between the living and the dead. The slightly hemmed, asymmetrical mouth reveals a slight smile. The delicate, refined headdress consists of a sober, chiselled axial shell. This type of ceremonial headdress was widespread in the 19th century in the western part of Gabon, among the Aduma and the Punu of Ngounié.

Estim. 4 000 - 6 000 EUR

Lot 36 - Tabuya pirogue wheel, Aire Massim, Papua New Guinea Carved and openworked wood, traces of paint. Height: 24cm, length: 55cm XX ° century Provenance:. Collected by Chris Boylan on the Sepik River. Publication: Art Massim, Franck Marcelin, September 2016, page 28, n°8 The Massim cultural region is renowned for its maritime trade network called kula, a place for the exchange of symbolic vaygu'a objects - necklaces and bracelets, whose interest was, more than material possession, above all political and ceremonial. This system of circulating objects between the various archipelagos of the Massim area contributed to the social renown, prestige and power of individuals within their community. The consecrated craft for such an expedition is a masawa-type ceremonial pirogue, repainted beforehand in preparation for the voyage. Both ends of the pirogue are adorned with carved polychrome boards, called lagimu and tabuya respectively, "placed symmetrically, like mirror images of each other". Some of the graphic signs painted and engraved on these boards are specific to different communities, while other motifs are more universal and identifiable by all groups. These compositions are governed by a concern for order and balance, with Giancarlo Scoditti going so far as to assert that "the lagimu / tabuya, as a geometric and abstract scheme, is equivalent to an equiangular spiral inscribing a golden or isosceles triangle." (Scoditti Giancarlo M.G, "The 'Golden Section' on Kitawa Island", In Culture and History in the Pacific, 2021). Our tabuya features a finely incised decoration of interlacing and spirals evoking the undulating forms of the waves, and stylized bird heads, punctuated by openwork spaces. It has preserved ancient traces of paint, testifying to the high value attributed to this element of magical protection during Kula expeditions.

Estim. 800 - 1 000 EUR

Lot 38 - Figure of a male Bioma ancestor -Urama language group, Gulf of Papua, Papua New Guinea Carved wood. Ochre pigments, traces of lime Restoration to right arm Height: 26 cm Provenance: - Collected by Thomas Schultze Westrum in the village of Kinomere, Urama Island, 1966 - Thomas Schultze Westrum Collection G562 (label on back) - The Jolika Collection of Marcia & John Friede. Rye, New York Artistic emblems and inescapable entities in the communities of the Gulf of New Guinea, the Bioma figures, remarkably inventive, combining abstraction and minimalism, mostly made from damaged pirogues*, were kept in the breasts of the long clan houses, sanctuaries of the spiritual world, which included a wall of imunu with which the men interacted. Placed above the crocodile skulls, not far from the Gope planks, they had to be captivating enough to attract the spirit and keep it there (R. Welsch, Coaxing the Spirits to Dance: Art and Society in the Papuan Gulf of New Guinea, Hanover, 2006, p. 90, no. 148). Temporarily sheltering the spirits of ancestors, reminding the living of their presence, they protected their owners. Distinguished from the traditional corpus by its small dimensions, this representation is animated by an exceptional dynamic rendered by the elaboration of its construction, the rhythm imparted by the two-dimensional stylized volumes, and the pictorial decoration of reliefs magnified by its beautiful polychromy alternating between ecru, ochre, brown and orange. The free movement of the stylized body elements is intensified by her gestures; the curvilinear arms brandished towards the sky convey an impression of movement and powerful spiritual communication, while the bowed legs complete the figure's striking sense of aspiration and celestial elevation. The whole is remarkably focused on the striking, captivating expression of the face. A rare example of this size, encapsulating the richness of traditional New Guinean art and culture New Guinea, while embodying the complex beliefs and rituals of the region's communities. *According to T. Schultze Westrum, during his stay on the island of Urama, was told by informants that the wood used to make the Bioma was that used to build a new pirogue, and not old boats.

Estim. 7 000 - 8 000 EUR

Lot 44 - Malagan ceremonial dance crest mask, Tatanua, Tabar Island, New Ireland Wood, plant fibers, natural pigments Late 19th century Height: 33cm Provenance Dr. Jan Olof Ollers, Stockholm French private collection acquired at Sotheby's (Lot 26), New-York, November 15, 1985 In the north of New Ireland and the surrounding Tabar Islands, ritual life was punctuated by long, complex funeral ceremonies known as malagan. In this ceremonial quest for ritual commemoration, a wide variety of figures, whose totemic motifs varied almost ad infinitum, and masks with very specific functions were conceived. Among this rich corpus, Tatanua masks are the most emblematic and best-known. According to the earliest accounts provided by the German ethnologist Richard Parkinson, the tatanua embodies and represents the spirit or soul of a deceased person. A symbol of timeless beauty, strength, poise and power beyond death, the tatuana was traditionally worn by the young men of a village at public dances, either in pairs, groups or ranks. According to Peekel, tatanua masks would have represented and embodied important people, as often during a dance one would hear someone call the mask by the name of the deceased (P. Gerh. Peekel, Die Ahnenbilder von Nord-Neu-Mecklenburg. Eine kritische und positive Studie, Anthropos, vol. 22, 1./2, Jan.-April 1927, p.33). Parkinson was the first to emphasize their festive and social character. He sees them as a manifestation of the Neo-Irish ideal of masculine beauty (R. Parkinson, Dreissig Jahre in der Südsee, Stuttgart 1907, p. 647). Characterized by their large, imposing, astonishing crested hair called a mulai (Peekel, ibid.), which faithfully corresponded to the tradition of hairstyles adopted to represent and signify mourning: "this particular hairstyle was obtained as the relatives of the deceased grew long hair which was then induced with burnt lime and colored yellow. During the funeral ceremony, the hair was shaved off at the sides, leaving a crest in the middle down to the nape of the neck [...] the sides were then induced with a thick layer of limestone and various ornaments were produced..." (Parkinson, ibid.). (Parkinson, ibid.) This Tatanua mask illustrates - through the remarkable elaboration of its headdress and iconography - the power of fascination exerted by the arts of New Ireland as soon as they were discovered by by Europeans at the end of the 19th century. Intended to provoke a visual shock when the mask is turned, the headdress is divided into two parts, one in the shape of a skull, subtly decorated alternately with black fibers, fabric and scrollwork, and an imposing, vigorous crest, exceptional here, embellished with tufts of raised red plant fibers. The majesty and beauty of the headdress accentuate the strength of the face, with its tight features and carnivorous expression. Enhanced by the finesse of the sculpted and painted motifs, it underlines the criteria of masculine beauty in New Ireland: a broad nose, with widely hemmed nostrils, a large mouth with lips projected forward, and teeth marked by alternating black and white pigments. The eyes, set with cowrie shells, accentuate the intensity of the gaze and the presence of the mask. His open mouth, with its fleshy jaw, invigorates the face, reinforcing the aggressive, combative expression of the mask intended to chase away evil spirits.

Estim. 15 000 - 30 000 EUR

Lot 47 - Kanak Puzzle New Caledonia Carved wood with dark patina 19th century Height: 82 cm. Length of beak: 34 cm. Provenance: Mackie Collection, Paris, Nouméa Mackie Collection, Paris, Nouméa The name generally used to designate these clubs, gö-poropwä-rä-märü in the Paicî language, refers to the center of Grande Terre. Our object has the stylistic characteristics of a stylized "bird-head" puzzle, distinguished here by the extreme finesse and length of its beak. It takes the form of a long handle with a circular cross-section, the upper end of which is curved at a right angle and carved in the shape of a tapering point, evoking a bird's beak. Sculpted in the extension of the beak, with finesse and subtlety, a crest falls to the back of the neck. The eyes are represented by two bulging protuberances. The bird represented is thought to be the cagou, a species with a crest of feathers on the back of its head. It is also accepted that in certain regions, the representation could suggest the beaked head of the hawksbill turtle, the object being referred to in the Houailou language as 'goc-goc'. The stylization and purity of these puzzles are enhanced by the glossy brown patina with bronze highlights, obtained by the application of fern leaves wrapped in tapa or bat fur. The finesse of these creations would indicate a ceremonial rather than military use. Reserved for chiefs, these prestigious objects affirmed their owner's wealth and status, and were choice gifts for ceremonial events.

Estim. 1 200 - 1 500 EUR

Lot 49 - Dogon cane summit Mali Wood Height: 24.1 cm Provenance: Sotheby's London Sotheby's London, July 8, 1969, lot 168 Christophe Tzara Collection, Paris Egon Guenther Collection, Johannesburg Sotheby's New-York, "African Art from the Egon Guenther Family Collection", November 18, 2000, lot 36 Private collection, acquired at this sale Forming the end of a cane, whose curved shape enabled it to be carried on the shoulder, this sculpture, articulated on a narrow vertical axis and whose composition bears witness to a fragile but masterful balance, presents a hermaphrodite figure. The figure in the round sits proudly on a stool. In addition to its seated position, which defies the laws of physics and attests to the importance of the figure depicted, the figure's impression of floating, as if in suspension, is conveyed by the openwork space formed between the legs and the stool, symbolizing the transcendence of the mythical being. Authority and dignity are expressed in the immobility of the pose, conferring power and prestige on this cane element. The features and contours, though softened by the passage of time and softened by the ancient crusty patina, shiny on the protruding parts, reflect a sculptural power characteristic of Dogon statuary, with angular, exacerbated volumes. Fertility and fecundity are expressed through the exaggerated chest, strongly projected into space, and the bubbled abdomen with its protruding navel. Displaying both feminine attributes - the chest - and masculine ones - the beard collar - the effigy's hermaphroditic nature would represent a mythical ancestor, reflecting the ambivalence and duality of gender in Dogon cosmology. It is believed that Amma, the creator god, and Nommo, the primordial ancestor, both possess feminine and masculine characteristics, hermaphroditism playing an important role in the representation of the principles of creation and the complementarity of forces in the universe. Red-brown paste inlaid with the word "EG", written in white pigment on the underside. Rare in the corpus, this cane top can be compared with the example from the Peter and Veena Schnell collection, carved with a hermaphrodite figure of similar workmanship. The photo shows the top of a Dogon cane from the Gunther collection. The photo will be offered to the buyer.

Estim. 3 000 - 5 000 EUR

Lot 50 - Nzambi sculpture, Holo Democratic Republic of Congo / Northern Angola Wood. Dimensions: 29 x 19 x 3.8 cm Provenance: John J. Klejman Collection, New York John J. Klejman Collection, New York (inv. n°11343) Private American collection From the fifteenth century onwards, Christian iconography penetrated, influenced and irradiated Central African artistic creation through contact with Europeans, notably with the conversion of the ruler of the Kongo kingdom, Nzinga. Kongo kingdom, Nzinga. Liturgical objects designed to spread the faith spread, while at the same time new artistic forms and religious practices emerged in Kongo country. This is evidenced by devotional objects such as crucifixes, representations of saints in ivory, and exceptional wooden figures like the one presented here. These framed figures, like paintings whose originality is revealed by their play of dimensions, probably appeared in the seventeenth century during the second phase of the Christianization of the kingdom by the Capuchin missionaries, who arrived in the territory in 1645. According to Albert Maesen, Doctor of Art History and Archaeology and Curator of the Musée du Congo Belge, these images are reminiscent of the Christian crucifix introduced by the Capuchins of the Sainte-Marie de Matamba mission. Like framed Christian crucifixes and other saintly figures, these sacred panels acted as protective amulets and were kept in houses called nzo santu, as part of the Nzambi cult. The figure, a hermaphrodite, stands in a conventional pose, carved from the same wood as the frame that both displays and contains it. While the figure's outstretched arms and legs are reminiscent of Christian iconography, its plastic treatment is characteristic of the Holo style - triangular head, almond-shaped eyes, short, bent legs. The sacred significance of the shaped effigy is accentuated by the play of full and empty spaces created by the framing, underscoring the subtle balance of the composition. The openwork voids symbolically offer a pathway to spiritual elevation, suggesting the divine presence beyond all material representation. Creating a space for contemplation, the frame, all the more so in the spiritual realm, "obviously requires an extremely fine proportion of presence and effacement, of energy and restraint if, in the sphere of the visible, it is to serve as an intermediary between the work of art and its environment, which it both connects and separates." (Georg Simmel, The Frame and Other Essays, 2003). The frames of the Nzambi figures have a sober rectangular composition, yet are adorned with fine geometric motifs engraved on their surface, testifying to the ambiguity of this visual boundary separating the profane from the sacred world.

Estim. 2 500 - 3 500 EUR

Lot 51 - Timbuwara emblem, Wiru Southern Highlands Province, Papua Papua New Guinea Plant fiber basketry, ochre clay pigment. Dimensions:101 x 51.5 cm Provenance: Chris Boylan Collection, Sydney Private collection, acquired in 2010 Before the arrival of the first Western explorers, the Southern Highlands were the scene of various spiritual cults. In the heart of the Pangia region, the Wiru practiced an ancestral cult called timbu, which manifested itself in the creation of timbuwara: flat woven figurines. The term "Timbu", evoking the sky, could suggest a veneration of the mysterious "Sky Beings", essential in Highland cosmology, inspiring both awe and respect among the inhabitants. "Wara", in the singular, etymologically means both "spear" and "guardian", symbolically evoking strength and protection. The ritual practice of timbu was aimed at rebalancing natural forces. To this end, the Wiru erected a ritual structure around a central pole called a tungi, decorated with the jaws of pigs. The men would then perform a dance around the tungi, wearing the emblematic timbuwara on their heads, before moving the pole to another area of the village for the sacrificial ceremony of hundreds of pigs. These timbuwara, veritable works of art in fragile basketry, were, as this example shows, two-dimensional figures with massive trunks pierced by a hole symbolizing the umbilicus, slender limbs and slightly raised arms. Their oval heads, framed by circular ears, featured a central mouth opening.

Estim. 1 500 - 2 500 EUR

Lot 59 - Crochet mask Rao / Romkun population, Central River Region Ramu // Upper Goam River, Madang Province Province, Papua New Guinea Carved wood, black pigment Early 19th century Height: 43cm Provenance: Kevin Conru Collection, Brussels Kevin Conru Collection, Brussels Galerie Flak, Paris Literature: Galerie Flak, Sepik. Crochets, Figures & Masques, Paris, 2018. Reproduced on page 34. André Breton, fascinated by the artistic creation of Oceania, saw in it "the greatest immemorial effort to account for the interpenetration of the physical and the mental, to triumph over the dualism of perception and representation, to go beyond the bark and up to the sap." (André Breton, in L'Art magique, 1957) Art as an intermediary means of transcending physical realities, exploring, suggesting and revealing the very essence of existence and spirituality. From the artistic dimension emanated the metaphysical dimension. Behind the sculpted "bark" lies the "sap", the spiritual force and sacred energy through the object's incredibly inventive plastic solutions. This crochet mask, whose very rare corpus is poorly documented, presents a skilful and complex architecture that plays on volumes and planes with ingenuity. Set in an elongated, stretched oval with sharp, pointed ends, the stylized face is articulated around a resolutely ingenious, original and structured composition. From forehead to chin, a series of interlocking, curved hooks deeply carved into the wood surround the face, accentuating its features and expressiveness. The circular, tubular eyes in relief, the slim, hooked nose extending disproportionately far into the protrusion of the mention espouse a similar shape, one joining the other to form a median axis, thus accentuating by contrast and linear opposition, the rhythm conferred by the repeated curves around the perimeter of the hook mask. The small oval mouth with slightly raised, half-open lips. According to John Friede (Friede, 2005. Vol1, page 152. Vol2, n°128), this type of mask, with its curved hooks, similar and comparable to the faces of the Romkun anthropomorphic sculptures of the Rao, was attached by means of fibers, at each end in the shape of a button, to long bamboo tubes up to 4 meters long, used to modify the voice. This voice modification created the illusion that the sound emanated from supernatural entities. This type of sacred instrument was played during initiation rites (Friede, New Guinea Art. Guinea Art. Masterpieces from de Jolika Collection of Marcia and John Friede, 2005: 152, fig.128 (vol.I), 102, n°128 (vol.II), exhibition catalog, Gallery de Young, Golden Gate Park, San Francisco, October 2005).

Estim. 7 000 - 8 000 EUR

Lot 61 - Yipwon hunting charm, Karawari River, Middle Sepik, Papua New Guinea Height: 23 cm Wood Provenance: Private collection, Vancouver Private collection, Vancouver French private collection Of great importance in the culture and spirituality of Papua New Guinea, protective charms or amulets, designed to protect against negative forces and malevolent spirits, were fashioned to preserve harmony and balance in the daily life of the community. These yipwon charms, carved on the model of monumental masks belonging to clan societies, were kept and displayed in the men's ceremonial house, the spiritual headquarters of the ethnic group, and were leaning against the back wall in the most sacred part of the sanctuary, where they were honoured with offerings. As part of the emblematic "mask-hook" tradition of the Middle and Upper Sépik regions, the yipwon offer a plastic solution imbued with symbolism and magic, testifying to the great extent of their power, which manifested itself to men in the trance state or through dreams. Through the stylization of their forms, they embody the total mastery of spatial and plastic elements, combined in a powerful, dynamic whole. Resting on a small, raised circular base whose abstraction evokes a leg or foot, the anthropomorphic effigy offers a stylized representation of the protective spirit of a warrior-hunter. Designed on a vertical plane, the composition is organized around two symmetrically curved hooks whose pointed ends converge at the center, enveloping the face of the figure sculpted in the round. Beneath the bulging, visored forehead, an imposing nose with large, pierced nostrils is prolonged by a half-open mouth. The crescent-shaped projections can be interpreted through the cosmological prism of the legend attributed to the creation of the yipwon, according to which the sun carved a magnificent slit drum, the splinters of which became yipwon genies who lived with the sun, like his own children, in the house of men. These entities, demonic in nature, took advantage of the Sun's absence to kill a relative who had come to visit him. Reported by the Moon, mother of the Sun, their murderous deed froze them forever in wooden sculptures. This celestial dimension of the Yipwon legend is symbolically reflected in the structure, whose projections evoke stars in constellation around the Sun and Moon. The alternation of solid, curvilinear, organic forms and openwork spaces lends an architectural dimension, expressing all the plastic inventiveness of this creation on the frontiers of abstraction, dreams and the divine.

Estim. 5 000 - 7 000 EUR

Lot 63 - Statue, Fang, Gabon Wood Height: 36.5 cm Provenance: Charles Ratton, Paris Charles Ratton, Paris André Derain Collection, Paris Sidney Burney, London Arthur S Rothenberg Collection, New York Sotheby's, New York, January 20, 1982, no. 242 Douglas Drake, New York Private collection, Hawaii Bonham's, New York, November 12, 2014, no. 299 Seymour Lazar Collection, Palm Springs Transmitted by descent Lempertz, Brussels, February 1, 2023, no. 30 Collection Richard Vinatier (inv. no. 546) This archaic example of Southern Fang statuary reveals the individuality of its creator in the singularity of its sculptural expression. Intended to symbolically evoke the ancestors - in this case, probably a lineage chief - this eyema byeri effigy had the function of protecting the relics of the clan's important deceased (cf. Perrois, Fang, 2006, p. 25). It is distinguished by the particularly expressive workmanship of the head. The impact of the "heart-shaped" face, with its features narrowed beneath the high, rounded forehead, is accentuated by the size of the eyes, once signified by circular copper plates, and whose presence remains in the traces of the resin used to fix them. This anatomical feature is relevant to a number of early Fang works, notably from the Okak/Mekè/Betsi region (Rio Muni and North Gabon). This feature is probably related to the symbolism of the ancestor statues' eyes, endowed with magical clairvoyance. The head also stands out for its interpretation of the axial-crested headdress (nlo-ô-ngo), whose sculptor has singularly amplified the shape of the side buns, to serve as a case for the face. Combining antiquity, originality of composition and subtle balance of volumes, this statue illustrates the individuality and mastery of a Fang artist, whose talent was at the service of community survival.

Estim. 20 000 - 30 000 EUR

Lot 64 - Oshe Shango Yoruba Nigeria Wood, pigments Late 19th - early 10th century Height: 33 cm Eugène Betra base Provenance: Private collection, Belgium Private collection, Belgium Private collection, France Olivier Larroque, Nîmes Richard Vinatier Collection, Avignon (inv. n°149) Bibliography: Object published in Danse avec Shango, dieu du thonnerre, Richer Xavier, Joubert Hélène, Somogy, Paris, 2018, p.78 and 79. Shango, god of lightning and thunder, stands out among the many Orisha deities of the Yoruba pantheon for his remarkable power. A protean entity, taking on the identities of man, king or nature spirit, he embodies one of the many spiritual forms deployed to radiate the grandeur and power of Olodumare, supreme god of Yoruba mythology. Alongside Ogun, god of iron, war and hunting, Shango represents Olodumare's "wrath". The legend behind the cult recounts that Shango, a military general, became the fourth king of the Yoruba empire of Oyo. Fascinated by magic, he created lightning, but accidentally caused considerable damage, including the death of his own children and wives. At the end of his days, terrifying thunder storms appeared, interpreted as the wrath of this fallen king, who was then deified as an orisha. Among the attributes conferred on Shango, the Oshe scepters express, in the words of Hélène Joubert, "the creative power of sculptors inspired by Shango's inexhaustible vitality." (Dance with Shango, God of Thunder, 2018). They display a double iconography, linked to the figure of the orante and that of the divinity. The female figure is shown kneeling on a circular base, holding a gourd-shaped rattle in her left hand and an offering bowl in her right. The face is dominated by large hemmed eyes with finely incised lids and a mouth with thick lips. The dome-shaped headdress is topped by the stylized double-axe adu ara emblem attributed to Shango. The ensemble is enhanced by the superb blue hues on the headdress and axe, as well as by highlights of osun - a mixture of camwood powder, laterite (red earth) and shea butter. Ritual use is evidenced by the beautiful old honey-tinted lacquer patina, as well as by the many traces of wear. Yoruba daily life is shaped and interpreted through the power of the orishas, and each deity is celebrated for several weeks. These sticks, part of the ritual accessories during dances and songs in honor of Shango, were brandished above the head to provoke his clemency. Our object stands out for the touching emotion of its curves, whose shiny patina and traces of plaster underline its ritual importance. In contrast to the power and unpredictability of the Shango deity, the impression of refinement and softness conveyed by the modelling perfectly reflects the care given to these individual sculptures, accompanying "the experience of a direct encounter with the god of thunder." (Richer Xavier, Joubert Hélène, Danse avec Shango, Dieu du tonnerre, 2018)

Estim. 8 000 - 12 000 EUR

Lot 65 - Fan, Baulé, Ivory Coast Wood, skin, leather, hair, metal Height 37 cm Provenance: Maine Durieu, Paris Maine Durieu, Paris Richard Vinatier Collection, Avignon (inv. no. 347) As part of the insignia of power worn by high dignitaries, carved fans such as this extremely rare model are akin to chasses-mouches. Among this limited corpus, let's mention the highly graphic fan in the Marc and Denise Ginzberg collection, or the plant-fiber model collected by Frans Olbrechts and now kept at the Africa Museum in Tervuren. The fanning part takes the form of a disc, the surface of which is covered with black animal skin, extended by a diamond-shaped handle, carved at the end with a Janus head evoking the Baule iconography associated with Bonu Amwin conjuration masks. These sacred masks, reserved for men, evoke the power of the amwin, supernatural divinities whose role is to protect men against evil forces, in return for services and homage rendered during masked ritual ceremonies. Bonu amwin masks are nocturnal masks, generally hybrid and zoomorphic. Their function is apotropaic, religious and judicious. There's every reason to believe that these sculptures represent the masks of the male society to which the fan's owner belonged. The miniature masks, arranged vertically on the handle, are carved on the model of the large masks: half-closed eyes, a rounded forehead, a half-open mouth with cut sides, the skull surmounted, in the case of one of the masks, by two bulbous buns, and in the case of the second, by two curved buffalo horns. The Janiform character of the figure suggests great divine power, giving this object a sacred protective power. The patina of the handle is remarkably beautiful, dark with ochre nuances and kaolin highlights, marks of wear on the surface, underlining the repeated use and age of this object. This fan, beyond its unique aesthetics, bears witness to the importance among the Baule, of the continual interconnection between the terrestrial and spiritual worlds. The collective power of the great ceremonial masks was manifested in small personal objects carved in the effigy of these protective images, through which the initiates hoped to win the favor of the amwin.

Estim. 4 000 - 6 000 EUR

Lot 66 - Atoni ceremonial skull Timor Indonesia Bone. Dimensions: 24.5 x 18 cm Provenance: Private collection: Private collection Acquired in San Francisco in 2004 The expressive power of the figure is matched by the high degree of technicality of this work from the Atoni area. This people, the majority of the Timorese population, lived mainly from agriculture and livestock, and organized their society around agrarian rituals, which involved honoring the divinities of heaven and earth. Carved from the front of boar or horse skulls, these figures are important ceremonial objects used in rituals led by shamans known as dunkun. During these ceremonies, animals were captured, sacrificed and eaten, their skulls then being prepared according to a precise ritual, and enriched with magical concoctions. The shaman then proceeded to engrave the skulls, the final step in a ritual process designed to connect with the spirits. The evanescent appearance of this effigy is rendered by the milky whiteness of the skull, whose surface representing the body is decorated with complex geometric patterns engraved and painted in black, consisting of lines, circles, lozenges and dots, as well as by its organic form with indistinct contours. Spreading out like wings, the arching bones form empty spaces on either side of the head, contributing to the celestial, ethereal character attributed to this spiritual figure. The upper part of the skull features a stylized face with expressive features, whose sobriety contrasts with the refinement of the body's ornamentation. The almond-shaped eyes pierced through the bone and the half-open mouth, with lowered corners, give the figure a frozen, enigmatic and elusive expression. The superciliary arches reinforce the gravity of the gaze, and are carved into the extension of the triangular nose with its hemmed nostrils. The ritual practice of carving animal skulls refers to the animist belief system of the Atoni people Atoni people's animistic belief system, which was not extinguished by the introduction of Christianity to the territory in the 1910s. Maintaining sacred relationships with nature spirits, deceased ancestors and the deities that populate their environment, the Atoni seek through their rituals to capture vital energy and sacred essence, in order to maintain harmony between the natural and spiritual worlds.

Estim. 1 200 - 1 800 EUR

Lot 67 - Lega statuette, Democratic Republic of the Congo, Ivory, in elephantidea. Height 15.5 cm CIC n° FR2400200387 - K Provenance: Lourdmer-Poulain, Paris, June 8, 1978, no. 183 Private collection, acquired at this sale Sotheby's, Paris, June 22, 2016, no. 57 Private collection, Paris The ivory statues known as iginga were reserved exclusively for the highest-ranking initiates of the bwami association, the lutumbo lwa kindi. According to Bebuyck (in Tervuren, 1995: 381), they could also be passed on, and become an heirloom for a deceased relative after being displayed on his or her tombstone. Each is associated with a specific aphorism, "recalling the virtues of the initiates of past generations, they maintain the moral, social, legal and philosophical rules and norms upheld by their predecessors; they are the links between past and present generations [and finally constitute] sacra, sacred objects, filled with vital force" (idem). This statue is certainly one of the finest specimens of its type in the Lega ivory corpus. It is distinguished by the rarity of the type, its great vigor, the intensity of its expression and the beauty of its ornamentation. The stature of the proud, well-positioned figure is accentuated by the modeling and dimensions of the limbs, the thick bust and the muscularity of the legs. The red-brown patina is obtained during the kibongia masengo rite, during which the statues are anointed with oil and pigments, and perfumed. The very fine patina of the Rousseau collection example suggests that it was used for several generations.

Estim. 10 000 - 15 000 EUR

Lot 73 - Set of 4 Barava Pangosia, Aire Roviana, Solomon Islands 19th century or earlier Fossil stoup, tridacna gigas Dimensions: 7x7 cm/ 7x5 cm / 9X7cm/ 10x9 cm Provenance: Didier Zanette Didier Zanette French private collection "Mysterious, these Solomon Islands treasures, sometimes still worn there like ornaments from ancient times, bring a little of the sun's sparkling splash on the swell agitated by the silent, terrible passage of a school of bonito. [...] They are precious, come from the land of Ophir and retain their magic." (Dominique Barbe, In Art des îles Salomon, 2015) Both ritual coins and pirogue ornaments, pangosia are part of the high tradition of fossil clam carving in Melanesia. Here, the pangosia takes the classic form of an openwork comb, pierced with small holes at the top. The fourth example offers an iconographic variant tending towards abstraction. The beautiful ivory-tinged patina is the result of thousands of years of polishing of this rare fossil shell, meticulously crafted by talented sculptors. Such an object, made from the most precious of Oceania's materials, could only have belonged to powerful individuals and thus become a prestigious emblem. Pangosia were used as protective badges during traditional headhunting rituals. They were attached, along with other coins, to the vovoso, a ritual object embodying the "spirit of the dead", which was tied to the pirogue when the expedition departed. These protective effigies were associated with the weather god, charged with warding off bad weather, and accompanied by the warning: "Be calm, you gods, the ancestors, the five gods of Koluka". In times of peace, the vovoso and its ornaments were placed near the funeral altars alongside the skulls of the chiefs, under the exclusive protection of the funeral priest.

Estim. 1 500 - 2 000 EUR

Lot 75 - Seated statue, Baulé, Ivory Coast Wood, fabric, beads Height: 47.5 cm Provenance: Patrick Girard Collection, Lyon Patrick Girard Collection, Lyon, acquired ca. 1980 Collection Richard Vinatier, Avignon (inv. n0 607) Acknowledged and elevated to the rank of the primitive arts most appreciated by Westerners, Baoulé statuary has conquered aesthetes the world over for its symbolism, its delicate modelling and the peacefulness with which it is animated. Among the modernists, Vlaminck was one of the first to succumb. To his striking "introspective reflection" (Vogel, Baulé: African Art, Wester Eyes, 1997, p. 28) is matched by her rare, remarkable and intriguing seated posture, accentuating her quietude and lending her a meditative allure. The surface of this feminine figure, whose gestures are imbued with delicacy, shows a crusty patina and a few traces of kaolin, enabling it to be identified with an asie usu. It is said to represent, as dictated by the soothsayer (the komyienfwé), "a bush genie" in the form and features of a human corresponding to the classic iconographic criteria of Baule beauty. As intermediaries with natural and supernatural forces, conceived as a receptacle, a dwelling place for spirits, asye usu enabled men, and the diviner himself, to appease, honor and communicate with them. Embodying the spirit of nature, art fulfilled a higher function designed to: "To overcome instinct and irrationality, to overcome the disorder of the world, to inscribe a balance in clear plans and precise contours, to dominate impulsiveness, to immobilize the volatile spirit, to fix for it the constraint of a measure, of a musicality. [...] Impose on an indocile, turbulent being an architectonic, a density, harmonious, gently curving lines" (Boyer, Baulé, 2008, p. 33-34). The elaborate hairstyles, here made up of fine rows of braided plaits, as well as the refined scarifications animating the bust and belly, and the face of this seated female figure, they were according to Susan Vogel "signs of the civilized person" expressing the fact that "the once savage and destructive energies will henceforth work for the good of their human host." (From the Visible to the Invisible, p.237). The power of symbolism is matched by beauty: the more beautiful the statue, the more benevolent the spirit. Its forms complement each other, reflecting each other in perfect harmony. The angular lines of the slender, pointed breasts, bent knees and elbows, contrasting skilfully with the soft oval of the face, with the exaggerated roundness of the belly, on which her hands are carefully placed, suggesting fertility, contribute to the rhythm of the composition. With its proud, dynamic seated posture (the bent legs expressing concentrated energy), its majestic allure and the exaltation of a perfectly mastered beauty, this statue strongly reflects the approach of the most powerful Komyen diviners who, to assert their powers, commissioned the most eloquent sculptures. To approach, to admire, Baule art is to consider the particular and specific visual culture of this society. Nian dan, meaning to stare at a work of art, is socially unacceptable; "in the visual practice of the Baoulé, looking at a work of art, or at objects of spiritual significance, is most of the time a privilege and a potential danger." (Susan Vogel, From the Visible to the Invisible, Art and Visual Culture, page 110). As Boyer (in Joubert, 2016, p.136) and Bernard de Grunne (In Fischer & Homberger, 2015, p.84) point out, with only 5% of examples depicted in a seated position, the rarity of the seated woman sums up the Baoule aesthetic concept in a delicate way. Through its beauty, its sacred symbolic power and its rare posture seated on a stool, it unites the sacred object with the everyday object, two conceptions that are very different from one another. According to oral tradition, the Akan people from Ghana introduced the art of goldsmithing to Côte d'Ivoire in the 18th century. At the heart of Akan mythology, the beings and objects that populate the universe are creatures of Odumankaman and man. Odumankaman created non-material beings and objects, and Odumankaman creates material beings and objects. In the first group, the Akan classify speech, spirits, genies and air. In the second, they mention water, earth, stone, metals, elements of flora, elements of fauna and humans. The Creator of the Universe also created animate and inanimate beings. All these creatures came into being before man, and all these creatures are beings that are born, live and die.

Estim. 30 000 - 50 000 EUR

Lot 82 - Senoufo statue, Ivory Coast Wood Dimensions: 95.5 x 17.5 x 14 cm Provenance: Van Bussel Collection, Amsterdam Van Bussel Collection, Amsterdam William Rubin, in his introduction to Primitivism in twentieth-century art 20th century art, describes how modern artists saw in the arts of Africa and Oceania a means of developing an art with a "universal and quintessential dimension" (1984, p. 55). Senoufo works were among the first objects to enter their collections. From the outset, they occupied a prominent place in their collections, as evidenced by photographs taken in André Derain's studio or Georges Braque's apartment. The limpidity of the formulas invented by the sculptors Senoufo sculptors influenced artistic research into modernity. The economy of line resonates in Giacometti's work. Fernand Léger's ballet sets are imbued with it. Kept in the sinzanga, the sacred enclosure of the Poro, "the most important socio-religious institution among the Senufo" (Goldwater, Senufo Sculpture from West Africa, 1964, p. 9), the large deble figures were sculpted in honor of the original ancestor. The virtues and qualities of the primordial ancestor shine through in this figure, the inwardness and contemplation signified by its half-closed eyes, magnified by beautiful superciliary arches. The slender, angular jaw reveals a small, pouting mouth with thin lips. The round forehead features a triangular crown, announcing a chignon-like headdress. To the refinement of her elementary lines, the fluidity of her movement and the powerful dynamic of her curving volumes, we add the ornamentation of her femininity, the scarification marks decorating her attributes, reinforcing the fertility symbolism of the ancestor depicted as having ensured the continuity of her lineage. In a subtle balance between naturalism and abstraction, the sculpture finally comes to life in the dynamics of volumes and the tension of convex and concave curves. From this rigor, the imperious presence of the primordial ancestor emerges with strength and peace. These large statues played an essential role in the rituals of the Poro initiation society. Whether during initiation ceremonies for young men or funerals for notables, they were animated to strike the ground to the rhythm of solemn chants. Our example stands out for its special treatment of the scarification marks surrounding its umbilicus, forming a schematized sun, for the arms serving as "handles", and for the remarkable sensitivity of its facial features.

Estim. 10 000 - 12 000 EUR

Lot 83 - Headquarters in cariatide Luba/hemba, Republic Republic of Congo. Wood Early 20th century Height: 36.5 cm Provenance: Public sale -Public auction: Art Primitifs, Cornette de Saint Cyr, Drouot Richelieu, Paris, France. July 3, 2007, lot 147. -Belgian private collection Monoxyle wooden seats supported by a figure in the round, most often female, are a recurring motif in African statuary and one of its most original creations. Luba tradition exalts feminine beauty, paying homage to the woman who, as the holder of spiritual authority, shares in political power (Nooter Roberts & Roberts, idem, p. 54). Through his creation, the sculptor honors and translates the combination of strength and sensitivity, the power of his gestures conveying symbolism, the metaphor of the importance of the woman supporting royal power. The seat's traditional function gives it both a hieratic and political character. Used for ceremonies involving important figures of power, notably chiefs or notables of the Empire, the seat could also be offered as a gift to the chief of the Mbudye. Balance in majesty, the balance of power signified in the rigor of the ample movement, in the punctuation by the curved planes of the points of tension - shoulders, biceps and open palms whose slender fingers seem just to graze the seat. The ovoid treatment of the face, with its idealized realism and prominent forehead, slightly triangular cheekbones and deep-set eyes, reveals the Luba's great mastery of wood carving, as well as their concern for harmony in the treatment of the various facial features. (Neyt, Luba. Aux sources du Zaïre, 1977, p. 88). Incisive finesse of features. The lower part of the caryatid's body is characterized by the delicacy and richness of the engraved motifs: the scarifications, treated in a multitude of lozenges forming perfectly symmetrical and harmonious geometric patterns, surround the navel and belly, constituting elements of body decoration. Her body spoke to the world, modulated the rhythms of nature, announced incantatory chants and revealed the words of the beyond. Her function was to interpret supernatural phenomena, linked to clairvoyance and power. A metaphor for royal power, a hymn to femininity, this work sums up Luba's creative genius.

Estim. 8 000 - 12 000 EUR

Lot 84 - Dance mask, Madanh province, Ramu river Ramu River, Papua New Guinea Carved wood, trace of ochre pigment Dimensions: 33 x 15 cm Provenance: Private collection - Private collection Australia Like most masks from the mouth of the Sepik or Ramu rivers, this early 20th-century mask has holes around its perimeter for attaching a dance costume, but here the holes are unusually rectangular. According to Chris Boylan, the mask is associated with the moon, and its use in ceremonial dances is linked to marriage. Oval shape with large forehead. The nose is phallic. This elegant dance mask belongs to the Ramu River stylistic area, although the naturalism of its features and the softness of its volumes make it somewhat different from the highly expressionistic and stylized creations typical of the region. The face, inscribed in a perfect oval with a rounded surface, features a long, slightly arched nose sculpted in high relief, following the curve of the face, whose hemmed nostrils are strongly pierced. The subtle asymmetry of the almond-shaped eyes, hollowed out and set in sunken orbital cavities, and the rictus of the mouth with its upturned corners, give this mask a captivating, expressive presence. The rounded edge of the headdress meets at the center of the forehead in a small, pointed tip. The ears - signified by two vertical elements framing the upper part of the face, and the perimeter of the mask, are pierced with notches, which were intended for hanging various costumes and ornaments. The rectangular shape of these holes is unusual, according to Chris Boylan. The top of the skull is extended by a tenon drilled to suspend the mask when not in use. The dark brown patina, enhanced with ochre-red pigments, adds depth and texture to the carved face, accentuating the mask's naturalistic dimension and fascinating aestheticism. It was associated with the moon and was used for ceremonial dances at weddings.

Estim. 5 000 - 8 000 EUR

Lot 85 - Brag mask Sepik River mouth stylistic area, Eastern Sepik Province, Papua New Guinea New Guinea Wood, ochre pigment Presumed time: first half of 20th century Height: 60cm Provenance: - Hermann Mark Lissauer Collection Melbourne - Crispin Howarth1 Collection, Canberra (by donation of the above) Hermann Mark Lissauer (1923-2016), a sugarcane and rattan industrialist from Angoram on the Sepik River from the 1950s to the early 1970s, was curious about artistic creation and made several expeditions to collect a large number of objects, some of which were kept in his private collection, such as this mask, and others sold to major collections and museums around the world, including the Rockefeller Museum and the British Museum. Imposing in size, the shapes and contours, enhanced by the brownish-red patina, magnify the mask's intense presence and expressive power. Oval in shape, the face is surrounded by a fretworked, jagged motif that borders the tared lower part. The depth and liveliness of the penetrating gaze are rendered by the contours of the eyelids, the flattened dark circles, the sharply defined curved eyebrow arches and the small, circular, hollowed-out pupils. A small, pierced mouth is set beneath an insect-trunk nose at the tip, with a pierced septum. The long, curved nose indicates that this mask does not represent a human figure, but a spirit figure known as a brag. It was not worn, but attached to a large bamboo superstructure that rose more than three meters above the dancer's head. Rectangular holes were drilled around the periphery for the attachment of a costume. A gripping hole also enabled the mask to be attached to a mobile support, leaning against a wall inside the ceremonial house, the place governing the spiritual world.

Estim. 7 000 - 8 000 EUR

Lot 92 - Boli fetish, Bamana, Mali Wood, unctional material, feathers, composite material Early 20th century Length: 66 cm Provenance: Merton D: Merton D. Simpson Gallery, New-York French private collection Among the Bamana, nyama is an energy that permeates the universe, beings and objects, giving rise to the creation of ritual objects. Boliw fetishes, linked to the Kono male initiation society, belong exclusively to their members, who acquire esoteric knowledge of the natural and spiritual world throughout their apprenticeship. The process of designing these powerful and impressive Boli involves a complex ritual performed by the leaders of the secret Jow initiation societies, using their knowledge of pharmacopoeia or "tree science" (jiridon). Around a wooden frame wrapped in white cotton cloth, a creature is fashioned from a mixture of earth and beeswax, the whole covered in clay and coagulated blood, recalling, according to Jean-Michel Colleyn, the "force of movement". Colleyn, the "force of liquid movement inseparably linked to life. ("Images, Signes, Fétiches À Propos de l'art Bamana (Mali)", In Cahiers d'Études Africaines, 2009). The thick crusty patina covering the surface represents the power of the nyama, the boli acting as a receptacle for this ambiguous vital energy, oscillating between Good and Evil. Like this power, "whose strength is to take on multiple forms, to constantly disfigure and re-figure itself" (ibid), boli's indistinct, shifting appearance contributes to its inherently elusive character. A veritable living system, its organic life cycle evolves slowly, as the sacrificial composite materials are anointed and poured. The general shape of the boli takes the form of anthropomorphic or zoomorphic creatures, as this piece suggests. Our example, whose appearance resembles a quadruped with thick, bulbous volumes, is distinguished by the significant organic flow, a superb whitish discharge starting from the hump and extending along the curves of the sacred sculpture. The boli's thick sacrificial patina bears witness to its repeated use and age. Closely linked to sacred rituals and processes, boli fetishes evolve over time, created as part of religious and magical practices that involve phases of preparation, activation and ritual manipulation, they bring protection, healing or prosperity to the community. As Colleyn explains Colleyn, the boli "depends on who takes care of it: if it is neglected after being made, it produces no positive effects, causes disasters, then decays and dies. However, if the fetish object is feared, it can also fall into disrepair, be discarded or destroyed by means of a few rites of annulment. Sometimes, it is "forgotten" in a sanctuary that soon collapses, or returned to the society from which it was received. Our sculpture, now removed from its cult context, is detached from its traditional function, and only the melancholy beauty conferred on the effigy remains. A singular work which, transcending all notions of temporality and space, captures the essence of the eternal.

Estim. 7 000 - 10 000 EUR

Lot 93 - Mask from the Bamana komo society, Mali Wood, thick unctional material Dimensions: 60 x 21 cm Provenance: John Falcon Collection John Falcon Collection (inv. n°069) Private American collection, acquired in 2006 The work of a talented blacksmith, this superb ancient komokun mask sums up the power and thought systems of the male socio-religious institution of the komo, through its pervasive, ferocious and powerful power. Komo masks are produced with little variation or originality on the part of the blacksmith or sculptor. Most of these masks, like our object, take the form of a helmet featuring a head, extended by an imposing gaping jaw projected horizontally into space, open to rows of sharp teeth. The combination of zoomorphic characters - antelope, crocodile, hyena... - shapes a strange, singular hybrid creature to concentrate nature's most powerful energies. As Patrick Mc Naughton explains about the nature of the entity represented, "The komo mask is made to look like an animal. But it's not an animal; it's a secret." Built on the assembly of powerful symbolic elements - zoomorphic attributes, plants, sacrificial materials, designed to exalt the nyama spiritual power that emanates from them, komo masks provoke awe and fascination. The wooden soul carved by the artist is collectively transformed and enriched by the komo initiates, each member adding to the sculpture elements and materials indicative of his or her power and expertise within the secret society. These elements, more or less identifiable, include horns, tusks, porcupine spines, sacrificial blood, millet beer, feathers, cola nuts... The whole is covered with a thick mixture of mud, honey and cow dung, forming a thick, crusty patina whose impressive interplay of textures and materials gives these effigies an enigmatic appearance. The regular reactivation of the sacrificial material during rituals tends to attenuate the original form of the mask, which then becomes, in the words of Sarah Brett-Smith, "the materialization of a shadow rather than a real object" ("The Mouth of the Komo", RES: Anthropology and Aesthetics,1997). Our object stands out within the corpus for its relatively naturalistic treatment of zoomorphic attributes - pointed ears with drawn pinna, tongue movement with raised tip, and globular clusters on the surface. These images can be viewed through the prism of catharsis, an Aristotelian concept describing the process of emotional and spiritual purification associated with intense, dramatic experiences. In the practice we're interested in, the nocturnal gatherings of the komo society - held several times a year during the dry season - would evoke, through song, dance, bird feather costumes and the acrobatic performance of the masked dancer, the extraordinary powers of the mask spirit. These powerful symbols of the komo, at once frightening and fascinating, would be a means of inciting the "terrified initiate", as Sarah Brett-Smith describes it, to "interpret the mask according to his own fears", while enabling him to access deeper levels of spiritual awareness.

Estim. 8 000 - 12 000 EUR
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