Tribal Art lots, Summers Place Auctions, 12th and 13th June 2018 by Summers Place Auctions

Summers Place Auctions Ltd

Home & Garden 12th/13th June 2018

Garden Natural History and Tribal Art

Viewing 10th & 11th of June 10a.m.- 4p.m. Auction starts at 1p.m. on 12th June

at Summers Place Auctions, The Walled Garden, Stane Street, Billingshurst, West Sussex, RH14 9AB For more information, further images and videos please refer to

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C.I.T.E.S.

Rupert van der Werff

James Rylands

All the relevant lots in this sale have been carefully vetted, mindful of current C.I.T.E.S. regulations, concerning the sale of endangered species. We are happy to provide advice on any lots, to overseas buyers concerning export restrictions. However, it is ultimately the buyers responsability to satisfy themselves that the correct licenses can be obtained prior to bidding.

Specialist

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rupert.werff@summersplaceauctions.com

james.rylands@summersplaceauctions.com

Errol Fuller

Kate Diment

Curator for Natural History

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errol.fuller@summersplaceauctions.com

kate.diment@summersplaceauctions.com

Letty Stiles

Lindsay Hoadley

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+44(0)1403 331 337

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lindsay.hoadley@summersplaceauctions.com

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Each one of our sales has a different flavour, and in this June sale offering we are pleased to be offering an important collection of African tribal artefacts. The Tribal Art section features a number of diverse and unusual works selected from many individual collectors as well as two small collections from African Kingdoms in the Cameroon Grasslands and the Kasai Area of the Democratic Republic of Congo. The selection of authentic individual pieces has been made to show the diversity of art from Central and West Africa, South America and Alaska at different levels of the market. The highlights are two Magnificent Mother and Child sculptures; one by the Mabea people with Ratton provenance and one by the Kongo people with Pareyn provenance. In addition, a number of superb classic works of Primitive Art by the Dan, Lovale, Bamana, Ejagham, Teke and Yoruba people will be offered for sale. High quality Ethnographical objects by the Yaka, Ngombe, Yakoma, Konda, Yombe, Ashanti and Eskimo people are being auctioned. A rare Salampasu Puppet and Mask and a variety of colorful objects by the Baule, Baga and Rikbaktsa people emphasize the powerful decorative presence of these unusual pieces of Art. The sale includes two small “Kingdom” collections. The Royal Beaded Regalia from the Cameroon Grasslands people (Bamileke, Bamoum, Bangwa and Tikar) were made with Colorful Venetian Trade Glass Beads and had no limits when it came to Creativity and Colors. Even today the Fon (King-Chief) of most of the 100 Kingdoms maintain this ancient culture intact with annual Dancing Festivals. The Kuba Kingdom in the Kasai Area of DRC reached its apex during the mid-19th century. Europeans first reached the area relatively late because of the kingdom’s relative isolation; therefore it was not as affected by the slave trade as was the Coastal area. Up to today the reigning monarchs continued the annual festivals and special occasion events to keep their ancient culture intact. These two “Kingdom” collections speak to a high-level of selectivity on behalf of their rulers and the juxtaposition of the works emphasizes their high level of creating Beauty and Refinement to support their power. The “Toys for Boys” section has some interesting Stuart model steam engines as well as a varied marine section of instruments, portholes and telescopes. Of particular mechanical rarity is a late 19th century Patent Express cast iron gold changer by W & T Avery, which was the Victorian forerunner of a cash in the wall machine. The garden section includes a rare pair of period 18th century lead figures of a shepherd and shepherdess by the eminent lead sculptor of the time, John Cheere, whose yard was on Hyde Park Corner in London….somewhat changed in appearance today! One of the famous tourist attractions in Florence is the bronze Fontana del Porcellino (Piglet fountain) in the Mercato Nuovo where rubbing the animal’s nose would bring good luck and ensure that you return to Florence. The Renaissance original by Pietro Tacca (1577-1640) has now been moved to the Uffizi gallery. The life size bronze copy replacing it is identical to one we are offering and cast by the same Florentine foundry of Ferdinando Marinelli. On a monumental scale and from across the pond are an impressive pair of 12 ft high bronze entranceway lanterns from the Gloria Crest Estate in New Jersey, which was once occupied by the Hollywood screen legend Gloria Swanson and is where she had a much publicised affair with Ambassador Joseph Kennedy, the father of President John Kennedy. We pride ourselves on the diversity of the material we offer and in this sale we have a real show stopper, namely a collection of highly important crime memorabilia relating to Albert Pierrepoint, the last hangman in England, together with his father Henry, including both their execution books. In Albert’s book from 29 December 1932 to 27 July 1955, hundreds of names are recorded. Among them, some notable names are listed, including Lord Haw-Haw, Ruth Ellis, Mahmood Hussein Mattan, Elizabeth Volkenrath and F. E. Hensmann. Also included are plaster casts of Pierrepoint’s face and both hands. The plaster casts have preserved an incredible level of detail whereby each facet of his countenance, each pore and wrinkle, are immortalised. As ever we are always happy to provide condition reports on any lot and if you want to visit before the official viewing times, just give us a ring. James and Rupert

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Rulers throughout the many Kingdoms in the Cameroon Grassland region (Bamileke -Bamum -Tikar) employed a range of Regalia to assert their political, economic and religious power. Presented publicly in lavish displays of wealth and power, many court objects were distinguished by their elaborate bead embroidery. Imported from Venice, Bohemia or Amsterdam, glass beads were considered a luxury material whose use and distribution were controlled by the King. The decoration of objects with vast quantities of brilliantly coloured beads transformed utilitarian objects into symbols of royal status and prestige. 42 Five fine beaded flutes under glass dome Grassland people, Cameroon 1940â&#x20AC;&#x2122;s 45cm high Five ceremonial beaded flutes or whistles from the Cameroon Grassland. They come in a variety of geometric form, taking on the shape of a hollowed, stylised figure that combines human and animal features. Most have a hole or some device for the attachment of a carry strap in string, cloth or leather. Mouthpiece up the flutes resemble buffalo heads; hanging inverted they suggest the human form. Whistles are usually tuned to play up to three notes and may be used alone or played in sets to produce a scale. Sound is made when a player blows air across a sharp edge - in this case between the crescentshaped ends. ÂŁ5200-7000

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43 Beaded double headed snake belt Grassland people, Cameroon, 1930â&#x20AC;&#x2122;s 50cm The double headed snake is the symbol of the Bamum Kingdom. Initially the King was the only person to wear the belt made of a raffia woven strip covered with cloth and beads. After the arrival of the Germans, important lineage representatives were also allowed to use these Regalia. The belt is covered with typical animal symbols. See back cover of catalogue ÂŁ4800-6000 40

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44 Beaded Ceremonial Head “Atwonzen” Grassland people, Cameroon, 1920’s Beaded heads such as this, called Atwonzen, represent trophy heads: the skulls of enemies felled in battle. Underneath the beading is not bone, however, but wood. Relatively rare works of this kind were associated with powerful otherworldly forces. Atwonzen were found only in the households of the Fon, or King, and their closest allies. 20cm, Certificate Martial Bronsin £16,000-20,000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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45 Five fine beaded ceremonial heads under glass dome Grassland people, Cameroon, 1930’s 55cm high Five beaded ceremonial small trophy heads. They are inspired by the very old and rare Atwonzen beaded skulls created for Bamileke King. They originate from the kingdoms located in the Dschang region. These representations consistently portray the skulls of enemies and are all formed out of a wooden core covered in fabric and decorated with beads, each example offers a unique interpretation. Highly symbolic, these depictions of enemies’ heads, wooden or the real skulls themselves, were carried by rulers on ceremonial occasions and during certain warrior dances such as the tso or nzen. The Small Ceremonial Heads were carried by the representatives of the important families. They were often covered with the same type of beads and designs; whereas the Royal Atwonzens had unique embroideries. One is represented in the The Caroline and Marshall Mount collection. £9000-12,000 46 Beaded fly whisk in the form of a rooster Grassland people, Cameroon, 1950’s 76cm high The Royal Fly Whisks (ethnic names: see leng koko or beuka) used in dances are made of carved wood to which horse tails are attached. These tails are veritable war trophies cut from horses killed in battle against and amongst the Bamoum, Fulbe and Chamba. The handles are covered with burlap and embroidered with European glass beads. Fly Whisks are Royal attributes, and each King possesses several examples. The King can authorise certain dignitaries or warriors to use them as long as no more than three individuals use the same one. Most of the whisk handles are relatively simple in shape, but other, more complex, handle forms are sometimes encountered including horned animals, monkeys, elephants, birds, person (s), etc. The rooster head is adorned beautifully with different sized glass beads, the mouth is covered with a red material and the lower of the neck is traditional boubou cloth on the end of the animal tail. £4000-6000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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47 Beaded palm wine vessel Grassland people, Cameroon, 1950’s 78cm This example features a long-necked calabash topped with a carved animal wood stopper. The entire assemblage is covered with cloth embroidered with strands of translucent and opaque red and blue glass beads that form intricate patterns. Of the many ritual items in a Grassfields kingdom’s royal treasury, bead-embroidered calabashes are among the most important. These containers were used exclusively by the Fon (chief) to store palm wine served on ceremonial occasions. The ritual consumption of palm wine was considered a sacred activity and reinforced the Fon’s spiritual and political power. Palm wine was also an essential component of sacrificial libations to the ancestors. £4800-6000

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48 Beaded palm wine vessel Grasslands, Cameroon,1950’s 80cm This example features a long-necked calabash topped with a carved facial wood stopper. The entire assemblage is covered with cloth embroidered with strands of translucent and opaque red and blue glass beads that form intricate patterns. Of the many ritual items in a Grassfields kingdom’s royal treasury, bead-embroidered calabashes are among the most important. These containers were used exclusively by the Fon (chief) to store palm wine served on ceremonial occasions. The ritual consumption of palm wine was considered a sacred activity and reinforced the Fon’s spiritual and political power. Palm wine was also an essential component of sacrificial libations to the ancestors. £4000-6000

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49 Beaded ceremonial Royal figure carrying two wine vessels Grasslands people, Cameroon, 1940â&#x20AC;&#x2122;s 40cm Beaded Figures were either representatives of Royal Ancestors or of Important Lineage Figures. Cameroon Art is one of the few to present figures in a non-static way. This beaded royal Figure, covered in fabric and decorated with original dark blue beads features all the symbols on his head and neck of an important person. The iconography indicate a Royal or Important person holding Palm wine vessels. Certificate Martial Bronsin ÂŁ8500-11,000

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50 Beaded Gorilla Dance Head Mask Grassland people, Cameroon, 1920’s 42cm This mask was carved from a single piece of wood, before beads and cowries were added. There are three animals (probably Leopards) standing on the head. This powerful mask represents a Gorilla. It’s a kind of herald, which marches past in conjunction with other secret societies in order to make their appearance even more interesting. The mask is old and shows beads of different dates. £12,500-16,500

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51 Beaded Royal stool Grassland people, Cameroon 1940’s, 38cm This delicate stool has a round base and plateau covered with cloth and embroidered with red, white, blue and variant colours of glass beads and cowries. Two interlaced servants support the seat. These beaded stools were the prerogative of the Royal family and the notables. They were used during meetings of the secret societies and royal councils. £5500-7500 52 A traditional seven layer Chevron trade bead necklace, 15 beads Bamileke people, Grasslands, Cameroon, 19th century Chevrons beads are made by a multipart process. They start with the making of the cane, then another colour glass is added and then this is usually put into a 12 point star mould. This process is repeated for each additional layer on the bead. Chevron beads, also called “Rosetta”and “Star” beads have been made Venice since the late 1400’s and are still in limited production today. The Venetian Chevron production with the highest volume of beads was in the late 1800’s and early 1900’s. Chevron beads have been traded throughout the world, but most heavily in Africa. The Dutch traders were the first to bring Chevron beads to Africa in the late 1400’s. 85cm £3500-5000

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53 Ceremonial Feather Hat “JuJu or Tyn” Bamileke people, Grasslands, Cameroon 1970’s For hundreds of years the Bamileke people have been creating these hats for their tribal chiefs, royal families and dignitaries to wear during tribal ceremonies. Often wearing them with the Elephant Mask, which denotes power and wealth in its wearers. Juju hats are also worn during festivities and ceremonial dances. Intricately made by villagers in rural Cameroon, each hat is unique and takes 2-3 days to complete. They are made during the dry months of the year so the grass and feathers can dry before manufacture. The grass base of the hats are delicately woven to create a strong backing for the wood slats which run up the sides creating a large circular platform for all the cured and dyed feathers which are then fitted one at a time to create the beautiful texture. The Juju hat folds up into itself to be very portable when moving or storing. 88cm diameter £2500-4000

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54 Beaded Royal headdress Bamileke people, Grasslands Cameroon,1930â&#x20AC;&#x2122;s The Beaded Royal Headdresses are made of a palm tree fibre structure, covered with burlap cloth embroidered with European glass beads that cover the entire object, imparting geometric symbolic designs. The Leopard figure on top of the headdress and the use of Cowries symbolize attributes of Royal Power. Examples of Beaded Headdresses can be seen in the Field Museum of Chicago. 38cm ÂŁ14,500-20,000

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Figural clay tobacco pipe

Clay tobacco pipe with geometrical designed bowl and stem

Grassland people, Bamoun Cameroon, 1920’s A tobacco pipe bowl modelled with a face. The pipe has been sculptured-not moulded. 39cm £1000-1500

Grassland people, Bamoum Cameroon, 1920’s A tobacco pipe bowl and assorted stem modelled with geometrical motifs. The pipe has been sculptured-not moulded. 45cm £800-1200

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57 Runner mask “Mabu” Wum people, Cameroon, 1930’s The secret association, Kwifon, in each kingdom has a runner mask called Mabu, that serves as the voice of Kwifon. Members on their dayand nightime missions are preceeded by this mask, which serves to announce Kwifon’s approach and to correct improper behaviour. In some Western Grassfield kingdoms of the past, Mabu was also the mask of executioners. Wonderful exaggerated facial features with a nice dark finish, prominent shield-like projecting headdress, round cheeks and open mouth, the “Mabu” performed at funerals and commemorative celebrations for important men of the village. 32cm £5500-7500

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58 Mother and child sculpture Mabea, Cameroon, 1920’s-1930’s 82cm Standing Fang Mabea Maternity of Museum quality, holding a pestle with both her hands. The mother’s head is slightly turned to the left, while the child, which she carries on her back, has his head turned to the right. Her left leg indicates a walking movement, which is not frequent for African sculptures. The eyes are inlaid with glass, the mouth has fine metal teeth and her hair dress, in leather, is fixed with indigenous little nails. The statue has a brown patina typical for the region. The statue dates from the beginning of the 20th century and is supposed to be made for a Colonial Exhibition in France. Provenance: R. Caillois (1913-1978), writer, sociologist and member of the “Académie Française” initially owned the Sculpture. He was in contact with Andre Breton in the 1930s and befriended Salvador Dali, Paul Eluard and Max Ernst. He breaks with the Surrealist movement in 1935 and starts the magazine ‘Inquisitions’ with Tzara and Aragon. After his death the sculpture stays in the family. P.Ratton certifies the sculpture, owned by the widow (second wife) of R.Caillois on the 27/10/1995. I dispose of the original of this certificate. Barones Josephine Sloet tot Everlo owned the sculpture until the 31/12/2014. Certificate P.Ratton £45,000-60,000

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59 The Salampasu people live east of the Kasai River, on the frontier between the Democratic Republic of the Congo and Angola. The Salampasu are homogeneous people governed by territorial chiefs, who supervise village chiefs. A people with a reputation as fearless warriors, the Salampasu have retained the custom of a rough and primitive life. Warring and hunting are privileged occupations. Salampasu masks were integral part of the warriors’ society whose primary task was to protect this small enclave against invasions by outside kingdoms. Wooden masks covered or not covered with copper sheets are worn by members of the ibuku warrior association who have killed in battle. Salampasu masquerades were held in wooden enclosures decorated with anthropomorphic figures carved in relief. A ritual dancer puppet Salampasu people, DRC, 1930’s The puppet is wearing a “mukinka” mask in front of the face, costume and conical headgear from plant fibre, small missing part (left foot tip).These masked dancer figures were adopted from the Chokwe. 45cm £1750-2200

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60 An Initiation Mask “Ibuku “ Salampasu people, DRC 1930’s Salampasu masks made for initiation purposes are characterized by a bulging forehead, slanted eyes, a triangular nose and a rectangular mouth displaying intimidating set of teeth. The heads are often covered with bamboo or raffia or rattan-like decorations. Presented in a progressive order to future initiates, they symbolize the three levels of the society: hunters, warriors, and the chief. Certain masks provoke such terror that women and children flee the village when they hear the mask’s name pronounced for fear they will die on the spot. Filing teeth making part of many wooden masks was part of the initiation process for both boys and girls designed to demonstrate the novices’ strength and discipline. The costume, composed of animal skins, feathers, and fibres, is as important as the mask itself. It has been sacralised, and the spirit dwells within it. Masks are still being danced as part of male circumcision ceremonies. 30cm £3500-5000

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61 A miniature mask “Ma Go” Dan people, Ivory Coast, 1930’s ‘Deangle’ mask type. The men of the Dan who have the right to appear with a very specific mask type - in the present case a ‘Deangle mask’ - can carry ‘their’ mask with themselves in a small format in everyday life or when travelling. The miniature version functions as an amulet or ‘identification’ and are called ‘Ma’ or ‘Ma go’. 17cm £1350-1800

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62 A female figure “Lu Me” Dan people, Ivory Coast 1930’s In Dan society, sculptures of women are prestige objects that reflect positively both on their owners’ and their subjects’ reputations. Among the most costly of Dan expressive forms, they are commissioned by men to honour an especially esteemed wife. The sculptures are conceived of as portraits of the women they depict, although this and other examples suggest an overarching emphasis on established Dan ideals of feminine beauty. In some instances ‘lu me’ sculptures are made public to the village during a ceremony in which the man who commissioned the carving is recognized and gaining social prestige. These figures may also be kept in small houses and only publicly shown on special occasions 38cm £4000-6000

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63 A female face mask “Deangle” Dan people, Ivory Coast, 1920’s This ‘Deangle’ mask type, with slit eyes decorated with metal, serves as friendly and caring ‘mediator’ and ‘supervisor’ during the initiation of young men who must spend a certain period of time in an isolated bush camp outside the villages and are taught there. The ‘Deangle masked dancer’ provides young men with food from the village, takes them to the village on visits and entertains the young initiates during their difficult, unusual time. 25.5cm £1700-2200

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64 A Hyena mask “Suruku” Bambara or Bamana people, Mali, 1930’s The Suruku mask, with full body costume, takes care of the male initiates of the ‘Korè’ association, while the elders introduce them to the rites and traditions of their tribe in the ‘bush’. It’s features (bulging forehead, two very large ears, long nose, huge eyes, mouth slightly open or jaw widely open) are meant to symbolize the supernatural intelligence, alertness and vitality, flair and vision of things and finally sharpened appetite for learning and knowledge. 40cm £2700-3500

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65 A female mask “Mwana Pwevo” Lovale people, Zambia Chokwe, DRC 1900’s A mask made of hard wood with an indigenous repair and good usage patina on the outside as well as on the inside. Despite featuring the incised tribal mark of the Chokwe people (so-called ‘Cingelyengelye’) on the forehead, the present mask must be attributed to the neighbouring tribe of the Lovale on the grounds of its gentle lines, a tendency toward naturalism, and a taste for round, full forms. This wooden mask portraying a young female is danced at the completion of the initiation ceremonies 27cm £4200-5500

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66 A Helmet mask Luba-Hemba people, DRC, 1st half 20th century This unusual mask reproduces the feature of the sculpture of the northeastern Hemba. The mask was collected at Karambare in the 1930’s by the Roman Dr. R. Sulsenti, at the time practicing in the area. 23cm Sulsenti collection Provenance: Collected by Dr.R.Sulsenti in the 1930’s; acquired by Alberto Galaverni who constituted his collection with the support of his friend Franco Monti. Publication:-49 Sculture Africane della Collezione, Alberto Galaverni fotografate da Mario Carrieri ,1978.fig.26-La mia Africa, Karen Blixen, Olivetti,Milano, 1981,fig. 48.- Emilio Tadini, Mario Carrieri,Milano,Gabriele Mazzotta editore, 1981,fig. 12.Exposition: Padiglione d’Arte Contemporanea, Milan, 1982. £5500-7500

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67 A Helmet Mask “Goli Glin” Baule people, Ivory Coast, overpainted in 1960’s 80cm high The Goli Glin mask, representing the Senior male, is aggressively complex and three-dimensional. It has a strong, older nature spirit and takes the form of a bush cow, antelope and crocodile combination. They were painted red, symbolizing blood, danger and aggression. Women and children were not allowed to look at them closely. When worn horizontally over the head, the masquerader performs fast, strenuous but controlled stamping movements under the weight of a heavy raffia costume. When not in use, goli masks are kept in the bush. The mask has been repainted - not unusual for headdresses that were valued and thus used and re-used. It retains a good patina and fair condition. Picasso had a similar mask in his collection, which was supposedly the model for the zoomorphic head of the ‘Guernica’. The Baule are one of the Akan peoples. They moved west to the Ivory Coast more than 200 years ago and adapted masking traditions from their neighbours, the Guro, Senufo and Yaure peoples. There are four basic types used in a special dance of rejoicing called Goli, a recent import from the Wan ethnic group, believed to come into use among the Baule after 1910. Goli is a day long celebration usually performed during the funeral of high ranking and respected community members. Sources point to the Goli dance providing not only entertainment but also protection for the village in which it is performed. Baule goli performances consist of four red/black, male/female dance mask pairs appearing in a pre-defined order. The masks appear in the following social order: first, a pair of disk masks called kple kple (the junior male; representing youth and weakness), second, a pair of animal helmet masks called goli glin (the ‘father’ or ancestors; representing strength, amwim bush spirits and forest buffalo), third, a pair of horned masks called kpan pre (the junior female; representing girls), fourth, two human-faced masks with crested coiffure called kpwan (the senior female, representing goli glin’s wife, the ideal woman). £2200-3000 64

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68 Helmet Mask “Bo Nun Amuin” Baule people, Ivory Coast, overpainted in 1960’s This sacred and fearsome bush cow/antelope men’s mask, kept in the bush and hidden from women and children, show the serious and powerful potential of Baule spirits. Considered the most sacred of masks, the Baule make use of the bo nun amuin mask (meaning ‘gods of the bush’ or ‘gods risen from the bush’) to protect the village from outsider threats. The mask is also used during funerals of important male elders, former dancers and chiefs. Danced only at night, it is believed that the mask helps deceased elders become ancestors in the afterlife; these ancestors bring good fortune to the community and aid in the prevention of external threats. This double mouthed variety, that allows the spirit to see in all directions,has random elements attached: crocodile, leopard, antelope, etc. The mask has been repainted - not unusual for headdresses that were valued and thus used and re-used. It retains a good patina and fair condition. 80cm high £2200-3000

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69 A standing female figure Senufo, Ivory Coast, 1930â&#x20AC;&#x2122;s Delicate female Senufo figure with facial scarifications. Wonderful patina. One foot missing and the other damaged. There is a similar statue in the Helena Rubinstein collection. 32cm ÂŁ1350-1800

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70 Mother and child figure “Phemba” Kongo, DRC, early 20th century Her legs crossed, the mother sits on a little stool and holds the child on her knees, staring in the distance. She’s wearing a knitted headdress and bracelets; attributes of a Chief’s wife. The open mouth shows her filed pointed teeth. The object shows signs of age and has a wonderful Patina. The left ear has been restored before the previous owner inherited the piece. 22cm Certificate Jan Paryn £12,500-18,000

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71 A Village Mask “Mbuya” Pende people-Kwango, DRC, 1930’s The Western Pende have large, theatrical dances that are performed during the initiation feasts of young men. For these they have more than 15 different mask types that represent various characters, such as chieftains, women, old men, invalids, jesters etc. These different types are known as ‘mbuya masks’. The mask face shows all the characteristic features of a Pende ‘mbuya mask’: the wide, forward protruding forehead is decorated with a scarification mark on this mask, the eyebrow arches reach horizontally across the entire face and the eyes that lie below with their accentuated ‘hanging’ lids show the typical ‘bedroom eyes’ of the Pende masks. It has small ears, a small upward curving nose and two characteristic scarification marks on each wide cheek. The open mouth above the narrow, pointed chin displays rows of teeth. The hairline, the inner ear, the tattoos on the cheeks and the teeth were all originally coloured in white (by means of kaolin). This is a very typical piece in perfect condition, with a good, shiny patina on the front and shiny areas on the inside due to protracted use. 26.5cm £1350-1800

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72 Chief staff “Mwaala” Yombe people, Bakongo, DRC, 19th century A Wooden Yombe Mwaala Chief Staff, with three globular elements. The Finial is a finely carved female figure kneeling, the hands resting on the knees and with raised scarification marks above the prominent breasts. The head carved powerfully with filed teeth and a typical ceremonial hat. Brown-black brilliant patina. 88cm Provenance: Collection of Dona Bronson, USA-Publication: Kongo Art Magique, Yann Ferrandin, Paris, 2009 £2200-3000

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73 A standing power and protective figure “Yiteke” Yaka people,DRC, 1930’s Statue is wrapped with magical substance in a canvas cloth and bound with plant fibre strands. Among the Yaka, these types of small wooden sculptures are known as Yiteke and they serve a ritual function as receptacles for powerful substances employed to avert, contain and control malevolent forces. One of the most striking features of most Yiteke is the prominent up-turned nose, which perhaps references the elephantone of the most powerful animals in the bush. This figure holds both arms up to its chest or beard, wears a hat, has protruding ears, closed eyes, and a roughly cylindrical body with bulging stomach, bent knees and large feet. Their small power figures, called ‘Yiteke’, serve as protective amulets against misfortune, witchcraft, illness and death. Powerfully carved with strong features, this Yaka figure wears a wrap around the middle of its body. In such wraps, the ‘ritual specialist’ of the community (priest, magician, healer etc.) packs his ‘magic material’ out of plants, earth and small objects, through which the ‘power’ of the figure first becomes effective. The present power figure ‘Yiteke’ displays the typical style of the Yaka: with expressively executed head and characteristic profile, with a pointed nose slightly curving upwards, and accentuated mouth-chin area, with protruding ears, hairstyle and headdress. Slightly bent legs. It is carved of hard wood, coloured dark brown. The visible parts made of wood display a good, old patina. Age-related cracks on the body. 25.5cm £2000-3000

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74 Fetish figure “Butti” Teke people, DRC, 1920’s This small fetish figure is meant for personal use (communal fetishes are bigger) and displays the Teke characteristics: slightly bent legs, a columnar torso, an enlarged head with a trapezoidal beard, a typical teke headdress and the left over of fetish material in an abdominal cavity. It was probably enveloped with more fetish material covered with a sack from which the head and feet protruded. Each figure has its own specific purpose not related directly to its appearance. For example, when a figure is carved for a newborn child, part of the placenta is placed in the stomach cavity of the figure while the rest is buried inside the father’s hut (where the family’s fetish figures are kept). The figure serves to protect the child until puberty. Figures of identical appearance serve also for success in hunting, trading, and other activities, each figure’s purpose being known only to the owner. These figures protect and assist the Teke. Often the magical substance “bonga” is placed all around the body with a cloth. The bonga is composed of various materials, but one of the main ingredients is whitish clay or chalk, which, for the Teke, represents the bones of their ancestor, thus conveying protective power. Often it is mixed with the nail clippings or the hair of a venerated person, with leaves of specific plants, various parts of snakes or leopards, etc. 21cm £2500-4000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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75 A standing female carrying a vessel Bamana, Mali, 1920â&#x20AC;&#x2122;s Fine Bamana standing female figure, arms above her head carrying a vessel, incised band of zigzags below the breasts, age cracks and with an old patina. 41.5cm ÂŁ1350-1800

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76 A standing female figure, Nyeleni” or “sickness fetish ?” Bamana, Mali, 1930’s Such standing, female figures were called ‘Nyeleni’ or ‘Jo-Nyeleni’ (this translates as ‘small, beautiful girl’) by the Bambara people in the Mali savanna. For the male initiates they embody the ideal female beauty and grace of young women who are of marrying age. The young men always carry these figures with them and place them on the edge of the place of worship for song and dance performances. The present crusted ‘Nyeleni figure’ is carved from hard, heavy wood and displays a tall crested coiffure decorated with cauries, prominent protruding ears, with a long, straight nose and a sketched mouth. The arms point straight backwards, with delicate hands. Her breasts point directly forwards as a sign of her fertility and the hips are distinct. The ‘Nyeleni’ stood on relatively large feet. A stylistically perfect piece with a very good, old crusty patina as a result of protracted use. Because of the crusted patina and the direction of the lower arm,the statue could also have been a sickness fetish. 53cm £2700-3500

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77 The Kuba Kingdom, was a pre-colonial kingdom in Central Africa. The Kuba Kingdom flourished between the 17th and 19th centuries in the region bordered by the Sankuru, Lulua, and Kasai rivers in the southeast of the modern-day Democratic Republic of the Congo. The Kuba are most famous for their monumental helmet masks, featuring, exquisite geometric patterns, stunning fabrics, seeds, beads and shells. With a lot of all Kuba men holding titles in the 1880s, competition for influence was sometimes fierce, and it found expression in the elaboration of these regalia objects into works of extraordinary beauty. A decorated backrest Kuba people, DRC, 1940’s These backrests were exclusiveley used by Dignitaries. The diamond design on the seat can also be found on the Kuba tissus called “Velours du Kasai” 58cm £550-800

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78 A Helmet mask “Bongo” Kuba people, DRC, 19th century This mask is a carved wooded helmet that is given a very wide forehead, a big nose, strong chin and sunken cheeks. The person wearing the mask looks out through the nostril holes because there are not any eye holes present; the mask is supposed to give the feeling of being blind. This type of mask resembles the Mboom mask but instead of beads and cowries, it’s decorated with paint. 36cm £5200-7000

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79 A drum “Ngeende” Kuba people, DRC, 19th century A human face, in the form of a mask, finishes the handle in the form of a hand. Kuba drums with outward curved legs are rare and intended for the elite. The Kuba carved many different types of drums, many having a hand on the front, which was associated with the “iyol” soldier’s society. To join, one killed an enemy and presented their hand as proof. The elaborate surface designs reference textile patterns. 75cm £1850-2500

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80 A tobacco pipe Kuba people, DRC, 19th century 55cm This elaborately carved and ornamented tobacco pipe was not merely a functional smoking implement, but was also emblematic of its ownerâ&#x20AC;&#x2122;s status. The wooden pipe stem was carved separately and attached at an angle via a

hole in the lower back of the pipe bowl. The stem curves gently upwards into a fluted mouthpiece. The designs on the stem are reminiscent of those on embroidered Kuba raffia fibre prestige textiles. The wood of both the bowl and stem is an even medium brown with some darker brown in the deeper carved areas. By the time that European and American observers first visited the Kuba kingdom in the nineteenth century, tobacco smoking was a well-established social practice there. ÂŁ1350-1800

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81 A feathered face mask “Ishyeen Imaalu” Kuba people, DRC, 19th century The Ishyeen Imaalu mask is ranked within a hierarchy of masking that perform during activities associated with

the men’s initiation society called Babende. Ishyeen Imaalu appears most often at funerals of members of the initiation society. This very fine Kuba mask represents a warrior and is decorated with feathers reservated for that purpose. 44cm £4000-6000

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82 A feathered helmet mask “Mwaash aMbooy mu shall” Kuba people, DRC, 19th century These prestigious masks belong to only a small number of aristocrats; they represent the King and are used when they are installed in their function. It’s the oldest

mask shortly following the Mboom mask. The Mwaash aMbooy is made of wood, elephant hide, and raffia cloth. 46cm Austrian collection £5800-7500

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83 A female half figure Fetish, Kusu people, DRC, 1920â&#x20AC;&#x2122;s Female Fetish figure with wooden pegs on head. The cloth to fix the magical charge on the pegs is lost in time. Typical Kusu honey patina and raffia skirt. 35cm ÂŁ2000-3000

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84 A figural pipe bowl Teke people, DRC, 1950’s 14cm £1000-1500

85 Two Hunting bells “Dibu” Kongo people, DRC, 1920’s These bells were attached to the dogs in order to keep track of them during hunting. 13-16cm £1000-1500

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86 An Anthromorphic figural terracotta vessel Mangbetu people, DRC, 1900â&#x20AC;&#x2122;s This fine, round, dark grey vessel depicts a complete figure which is rare. The Mangbetu ethnic group lives deep in the centre of Africa; they were famous for their hair styles that defied nature. They practiced Lipombo, the art of head elongation that denoted majesty and status. The people of this tribe produced a large variety of highly developed art. The smaller pots were used for more specific tasks such as cooking, cleaning, and pouring. Mangbetu pots are handmade out of clay and fired in its natural form in open fire. 34cm ÂŁ1000-1500

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87 A Vodun pole figure Ewe people, Togo-Ghana, 1940â&#x20AC;&#x2122;s Figure posts like these were placed outdoors and sunk into the earth and were intended for Vodun rites (as shrine figure, as a guard post at houses or at the entrance of a shrine). Heavy and crusty with sacrifice patina. 56cm ÂŁ1750-2200

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88 A hunter with bow bronze figurine Bete people, Ivory Coast, 1920â&#x20AC;&#x2122;s An uncoated figurine of a Bete Hunter with bow and probably a pack with arrows on his back. 9.8 cm ÂŁ950-1200

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89 A female bronze figurine Dogon people, Mali, 1930â&#x20AC;&#x2122;s An uncoated bronze figurine depicting a standing Dogon female figure with long slim sinuous limbs and a braided hairstyle on top of her head. 13.4cm ÂŁ1200-1800

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90 Two Dogon door lock of anthropomorphic form Dogon, Mali, 1930â&#x20AC;&#x2122;s Dogon Doorlock are used to protect houses and granaries, and they range from the abstract and symbolic representations of myths to ancestors and scenes of life. Placing an image of an ancestor on the doorlock offered

additional protection by making the door sacrosanct. The masterful art of the Dogon is characterized by the rendering of the human body in an abstract way, reducing it to its essentials. Some are extremely elongated with emphasis on geometric forms. Their art deals with the myths whose complex ensemble regulates the life of the individual sacrosanct. 48-50 cm ÂŁ800-1200

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91 Man and wife bronze figurine Vere people, Nigeria, 19th century The bodies of the Vere couple are very nicely decorated with motifs in low relief. 12-14 cm ÂŁ1000-1500

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92 Three ringed neck terracotta heads Ashanti culture, Ghana, date unknown 9-13 cm The heads, with the typical ringed necks, are probably handles from memorial receptacles believed to be created by elderly female artists after the death of a prominent leader and placed in asenie (meaning ‘place of pots’) shrines on the outskirts of towns. What is generally agreed however is that nsodie heads are not exact representations of leaders past but instead depict certain characteristics of the deceased (such as the individuals hairstyle or scarification marks). £480-650

93 Three scarified terracotta heads Bura culture, Niger, date unknown 12-14cm The heads are flat, oblong in shape with typical face scarification marks £480-650

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94 Standing intact 2000 year old terracotta figure Nok Culture, Nigeria 1st century Thermo Luminescance certificate done in 2013 states 2080 +/- 180 years old. In excellent condition for its age. 28cm ÂŁ15,000-20,000

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95 A millstone Ashanti people, Ghana, date unknown 66cm Â£1700-2200

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96 Hinged jaw mask “Elu” Ogoni people, Nigeria, 1930’s A mask of the Ogoni, who live in the hinterland of the Niger delta in southeastern Nigeria. The mask displays the characteristic features of the Ogoni style: it is carved from light-coloured wood and relatively small. Its face, with the small, wide, upwards curved nose, is coloured in white. Above, it wears a high, rounded and black-dyed ‘towering hairstyle’ (or cap?). Also the scarification marks between the eyebrows, the outlines of its slit eyes and the wide mouth are black. Typical for the masks of the Ogoni are the common, large hinged jaws, which allow an Ogoni mask to ‘speak’. The movable lower jaw is attached to the mask head at left and right by means of fibre cords. Elu masks, such as this one, are danced by young members of secret men’s societies that have social, religious, or governmental functions. The small masks are attached to cone-shaped caps of fibre and cloth that cover the heads of the dancers. They are usually danced at annual festivals or at funerals of members of the societies. 22cm £1350-1800

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97 The Ekoi-speaking peoples (Anyang, Boki, Ejagham, Keaka, and Yako) live in the Cross River region in southeast Nigeria and Cameroon and are best known for their skin-covered masks, which may have one, two or even three faces, and for their smaller headpieces, which represent a head or an entire figure. The heads and skin-covered helmet-masks are unique in Africa. Earlier skins of slaves, later skins of antelopes, were used. When the mask is made fresh animal skin is stretched and tacked over the soft wood from which it is carved. After the skin dried, it was stained with pigments made from leaves and bark. Crest masks do not cover the head but rather sit on top of it. They are attached to the basketry cap, which is held on the wearerâ&#x20AC;&#x2122;s head. It is presumed that all masks represented ancestors. The skin covering of a mask served as a magical agent to invoke ancestral spirits, thus eroding the barrier between living and dead participants in communal rituals. Headdress anthropomorphic figure Ekoi Ejagham people, Cross-River Area, Nigeria-Cameroon, 1920â&#x20AC;&#x2122;s The present Ekoi Ekpe head is unusually large, covered in dyed black leather. The eyes preserve remains of an original white colouring. In its large, open mouth teeth are inserted. The coiffure consists of glued, real human hair. Rattan wickerwork are attached to the base as a holder. A very expressive object with good, old usage patina. Minor age damage. In former times, their warriors are said to have danced

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with the actual heads of their killed enemies. However, this cult changed long before the arrival of the Europeans on their territory: since then the Ekoi people have manufactured these heads carved in wood, covered with antelope leather and dyed. The men wear these heads, called ‘Ekpe’, as dance crests on their own heads during ceremonies. Thus clad, they dance on the occasion of fertility rites and funerals. £12,500-18,000 98 Monolith “Akwanshi” Ekoi people, Cross-River Area, NigeriaCameroon, 19th century or earlier The oldest date from the 16th century and they measure between 14 and 200cm. With the death of a Spiritual Leader a representative Monolith is carved. The idea, to endow a Phallus with human traits, or in the reverse case, to see a person as a phallus, finds its African analogy only in Ethiopia and in the Niger Delta. These Akwanshi were chieftain priests who, after their death had to perform a mediating role and there by travel to the world beyond the grave, for which human sacrifices were offered to them turning them into half-God like beings. The object has a nice patina and is mounted on a rotating base. 27cm £3000-5000

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99 Headdress anthropomorphic figure Ekoi Ejagham people, Cross-River Area, Nigeria-Cameroon, 1920’s Starting from a wicker base, the figure is covered with Antelope hide and further “embellished” with applied human hair and teeth. Its power is enhanced by added paraphernelia including magical substances. They stretched antelope, sheep or goat skin over a rattan form; the limbs were made separately. Eyes and teeth were coloured white, and the scalp covered with human or monkey hair. Before each performance the headdress was treated with palm oil, hence its dark colour. 32cm Publication:’Afrika; De Ten Houten collectie van Afrikaanse kunst ‘Hans van Witteloostuyn,Eersel,1997,n° 14 Provenance: Ten Houten collection £3000-5000

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100 Carved twin figure “Ibeji” Yoruba people, Nigeria, 1920’s 27cm Provenance: Jef Verstraeten A finely carved big Yoruba Male Ibeji figure with tall headdress, expressive eyes, original bead belt and heavy wear and polish from native use. Areas of encrusted cam wood powder between arms and around feet. Though the cause of the high rate of twin births among Yoruba women has not been established, the cultural grieving process is well documented and may be observed in the carving of a figure known as Ere Ibeji, which both represents the lost child and serves as a ritual point of contact with the soul of the deceased. The carving of the Ere Ibeji is commissioned under the guidance of an Ifa diviner, a Babalowo, whom the parents consult in selecting the particular artist who will do the work. The sculpture itself represents a deceased infant, but is carved with features and attributes of an adult. The sculptural features of genitalia, pubic hair, wide hips, developed breasts, gender specific facial scarification and mature coiffures exude an erotic sexuality, uncommon for infants. The completed ibeji figure is carved as an adult, rather than as the deceased infant, in a mythological form that depicts the concentrated calm of a Yoruba artist. When the carving of the Ere Ibeji is completed, the artist is given a feast and payment as determined by the Orishas. Once the figure is brought to the family dwelling, it is placed on a shrine dedicated to Elegba with the hope that the Orisha or soul, which was split in two parts when the twins were born, will now again reside in the figure that represents the dead twin. The sculpted figure is treated and cared for as if it were alive. It is rubbed in sacramental oil, washed, fed, clothed, sung to and prayed to. It is kept standing during the day, and is laid down at night. Often it will be dressed in the same clothing as the living twin, or be decorated in a beaded vest or shown with raised sandals, indicating possible royal connections. They attend to the figure as if it was their child, they feed and wash it. It will be constantly rubbed with indigo and red wood powder. The responsibility of caring for the Ibeji is borne by the mother and female family members of subsequent generations. The sculpture is expected to avert evil from the household, strengthen the manifestations of family love, stare down death, illuminate the pathway through the valley of immortality, and bring good fortune to all who treat it with respect and offer it tokens of affection. £1800-2500 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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101 Mother and Child figure Drum “A-Ndef” Baga People, Guinea, overpainted in 1960’s This drum originates with the Baga peoples, who occupy a narrow stretch of marshy lowland along the Atlantic coast of the Republic of Guinea, West Africa. The Baga, one of the smallest ethnic groups in Guinea, have lived relatively isolated from their inland neighbors and foreign visitors due to the vast swamps that surround them. Yet the Baga have created a significant artistic legacy that includes magnificent headdresses, figurative sculptures, masks, and functional objects as well as musical instruments. The Baga are known for their dynamic performances and ceremonies, both religious and secular, in which music and art play an integral role. Owned and played by members of the Baga women’s association known as A-Tekan, this drum, called a-ndef, demonstrated female power. The initiation into such institutions of female solidarity and cohesion was generally restricted to women who had bore children. The drum was played at annual week-long initiation ceremonies for new members, as well as at the funerals of members and the marriages of members’ daughters. While A-Tekan officers played the drum, its members danced to its beat, accompanied by other instruments. The drum is distinguished from other drums used in A-Tekan rituals by its large size, which requires its player to stand. While such drums were carved by men, only women would have designed, commissioned and played them. This drum was carved from a single piece of wood and would have been repainted, since the time of its creation. 90cm £2200-3000

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102 Dog mask “Suaga” Mambila people, Mumuye, Nigeria, 1940’s This carved wood mask does not represent a single, identifiable animal. It is composed of elements from different animals and represents a “bush spirit,” emphasizing that it has no counterpart on earth. It is a thing of the “bush” and things of the bush are male and ungovernable. The mask represents a hybrid animal and bears some of the classic details of a bovine and a dog’s head. This mask is wonderful for its creativity. The top of the mask is punctuated by eyes treated with great originality. The patina is brown crusty grey. 25cm £1200-1800

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103

104

Prestige throwing knife

A Ritual knife

Ngbaka people, DRC, 1940’s

Ngombe people, DRC, 1930’s

The throwing knives of the Ngbaka have become icons of central African weaponry. The knife, which could be thrown overhand from a standing position or sidearm from either a standing or crouched position, is perfectly balanced around a central point of gravity. This balance allowed for incredible accuracy when throwing the weapon. In addition to their practical application as a weapon, beautiful blades and copper decoration were symbols of wealth that enhanced the prestige

61cm Provenance: Leo Meurens

44cm £950-1200

The knives were handmade with heavily decorated forged iron blades with embellished wooden handles. They would use brass or leather wrappings and tacks that turned their weapons into insignia of prestige, ceremonial dance implements, and valuables used for exchange. Some of the engravings were done on the heated blade while the ones that run along the whole length were made with a sharp metallic tool on the cold blade. Warriors were widely respected for their courage in protecting the villages. £1700-2200

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105

106

A sickle knife

A sword in original sheath

Ngbandi-Yakoma people, DRC, 1930’s

Yaka people, DRC, 1930’s, 65cm

41cm

Provenance: Leo Meurens £1700-2200

£1600-2200 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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107

108

A short sword

Figural ritual dance staff

Kundu-Konda people, DRC, 1930’s

Pende people, DRC, 1930’s

55cm

43cm

£1700-2200

£800-1200

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109 Neck covering headdress “Myhara” Rikbaktsa people, Brazil, unknown The colourful headdress is made out of a woven crown covered with feathers, and human hair. Rikbaktsa, the group’s selfdenomination, can be translated as “the human beings”. Locally, they are also called Canoeiros (Canoe People), alluding to their aptitude in canoe use, or-more

rarely-Orelhas de Pau (Wooden Ears), alluding to their practice of enlarging their earlobes with wooden plugs. The Rikbaktsa’s territory is within the Brazilian state of Mato Gro 65cm £8000-12,000

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110 Eskimo Model Kayak wood covered with seal skin, lined with bone Eskimo, 1930’s What makes this model so special is that all the hunting devices are still present: spears, harpoons, spear thrower, wood float board, and bladder, paddles and other equipment used for seal hunting. Please note how well these are made in a stunning combination of wood and bone and lashed on deck under bone and sinew spear securers. Despite the kayak frame traditionally being made by the men, it was the Eskimo women who tanned the seal hides and sewed them together to make the waterproof skin of a kayak. The women would grease the seams with seal blubber and fish oil to make sure they were watertight. The outer skin had to be renewed at least every two years. It had a driftwood or bone frame.

Apart from the double paddle used to propel the kayak in the water, a harpoon, spear and swimming skin was also fastened to the kayak when hunting. The harpoon and spear would be tied to the boat using leather straps and would often trail in the water besides the hunter when not in use. The swimming skin or bladder would be fastened behind the paddler tied to the harpoon to prevent a speared seal from diving away from the hunter. The main use of an Eskimo kayak was for hunting, and seals, walruses, birds and even reindeer were all hunted using kayaks at sea. Eskimo people still use kayaks to hunt from today. In the past, kayaks were even used to deliver mail to the more remote parts of Greenland. The famous ‘Eskimo Roll’ manoeuvre was developed by traditional kayak users to enable them to raise a capsized kayak in rough seas with a single stroke of their paddle. 155cm £5500-7000

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Sealed bid auction Lots 200-567 All sealed bids must be with us, at the latest by 4pm GMT on the 13th June since the bids will be opened on the 14th June. The winning bid will be the highest left on each lot above the reserve. Bids are nonsequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. For further information on sealed bids and how they work see our conditions of business.

463 A Luba carved wood maternal figure Congo, 1st half 20th century 66cm £250-400 464 A wooden and rope mask Chokwe, Angola, early 20th century 56cm £400-600 465 A carved wooden figure Chokwe, Angola on later stand 35cm £300-500

466 An unusual carved wooden head with human scalp Ejagham tribe, Cross River area, Nigeria, 19th Century 29cm high Provenance: A letter accompanying this piece states that it was bought at the dispersal sale of the Pitt-Rivers family Farnham museum at the sale held there by Sotheby’s in the 1970’s. £500-800 467 A Kuba mask with feather top Congo 34cm £200-300

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468 A Vili fetish Chimpanzee skull circa 1910 32cm by 27cm With A10 £900-1200 469 A rare mother of pearl trolling hook Marshall Islands, 19th century 15cm £500-800 470 A New South Wales boomerang 61cm long £120-180

471 A wooden and gourd musical instrument probably Senegal, circa 1900 81cm £180-250 472 An unusual half Coco de Mer hanging lamp early 20th century 30cm wide These large nuts caused a great deal of mystery for hundreds of years. They were found floating on the sea and no-one knew where they came from. Eventually it was discovered that they originated in the Seychelles. They are much sought after due to their decorative an erotic appearance. This is a particularly beautiful and spectacular example. £100-200

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The following lots are mainly from the Sepik River area of New Guinea

473 Two carved wooden food hooks the larger 146cm £150-200

476 A carved wooden “Devil” figure 84cm high £150-200

474 A carved and painted ancestor figure together with a wooden food hook the larger 123cm £150-200

477 A carved wooden canoe prow on stand 92cm high £150-200

475 A carved wooden ancestor figure on stand 97cm, together with an ancestor head £200-300

478 A wooden animal head West African mounted with embossed copper decoration and hung with cowrie shells and glass beads 166cm high £400-600

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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479 Three Sepik river carved wooden food hooks the largest 92cm £100-150

480 Three carved wooden food hooks the larger 103cm £150-200

481 Two painted wooden carved heads 81cm £200-300

482 A slit drum/Garamut 112cm £80-120

484 A large painted wood ceremonial mask 104cm £150-200

485 A painted wooden child’s slit drum 50cm £100-200

483 A carved and painted wooden crocodile mask 75cm £200-300

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486 A carved wooden ancestor figure on stand 104cm high together with a wooden figure £200-300 487 Two wooden ancestor house figures on stands the larger 69cm £120-180 488 Two wire bound ceremonial clubs Southern African, possibly Nguri the larger 53cm £500-800

489 Two bamboo and wooden flutes on stands 140cm £150-200 490 Two wooden spears and a club 218cm long £100-150 491 Two large carved wooden spears 219cm £150-200

492 A large tribal carved wood WakaTaua (War Canoe) with Oarsmen 15cm high by 14cm wide by 152cm long £200-300 493 A large bamboo flute together with a carved wooden house post 208cm £80-120

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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494 An ancestor skull Dayak Tribe on wooden stand 30cm high The Dayak, from Borneo are feared for their ancient tradition of headhunting practices. They believe in a “sacred jar,” which is only to be opened by Dayak warriors, who have obtained a human head, or can present a human head, which was acquired in a fight; or by a warrior who has returned from a sojourn into enemy territory. As a practice, headhunting has been the subject of intense discussion within the anthropological community as to its possible social roles, functions, and motivations. Themes that arise in anthropological writings about headhunting include mortification of the rival, ritual violence, cosmological balance, the display of manhood, cannibalism, prestige, and as a means of securing the services of the victim as a slave in the afterlife. Contemporary scholars generally agree that its primary function was ceremonial and that it was part of the process of structuring, reinforcing, and defending hierarchical relationships between communities and individuals. Some experts theorize that the practice stemmed from the belief that the head contained “soul matter” or life force, which could be harnessed through its capture. The Iban Dayak’s “Ngayau” ritual headhunting rules specify that the first time a warrior takes a head or captures a prisoner, he must present that head or captive to his superior to acknowledge his leadership. In addition, the Dayak Ngayau headhunting regulations dictate that if a warrior takes two heads or captives, one must be given to his leader; the other is kept by the warrior responsible for the kill or capture. £2000-3000

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495 A carved ancestor skull with headdress Dayak Tribe mounted on wooden stand 31cm high ÂŁ1500-2500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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Signed _________________________________________ Dated ____________________________

.............................. LAST DIGIT OF SECURITY CODE

3 ONLY)

Please clearly specify the telephone number or back up mobile phone number on which you may be reached at the time of the sale, including the country code. We will call you from the saleroom shortly before your lot is offered. Telephone bids are operated on a first come first served basis as lines are limited.

Where appropriate your written bids will be rounded down to the nearest amount consistent with the auctioneers bidding increments

“Buy” or unlimited bids will not be accepted and we do not accept “plus one” bids. Please place bids in the same order as in the catalogue. Alternative bids can be placed by using the word “or” between lot numbers

Please note that we may contact you to Request a bank reference. In addition we Will require sight of a government issued ID and proof of address prior to collection of purchases.

Please send this form by post to Summers Place Auctions Ltd, The Walled Garden, Stane Street, Billingshurst, West Sussex RH14 9AB or by Fax to 01403 331340

Lot No.

FOR TELEPHONE BIDS

FOR WRITTEN/FIXED BIDS

Payment is due immediately after the sale in pounds sterling. Full details on how to pay are included in our Guide for Buyers. If you wish to pay for your purchases by card please complete the details below and your Card will be charged.

NAME ON CARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DEBIT CARD NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . New Clients:

GARDEN, DESIGN & NATURAL HISTORY

Please note that the execution of written and telephone bids is offered as an additional service for no extra charge ,and at the bidder’s risk. It is undertaken subject to our other commitments as the time of the auction. We therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise.

Tel

SALE NUMBER

FOR TELEPHONE BIDS

(tel. bids only)

IMPORTANT

Address

First name

Summers Place Auctions Ltd

Title

TELEPHONE NUMBER DURING THE SALE

Bids will be executed for the lowest price as is permitted by other bids or reserve.

Maximum Sterling price (excluding premium & VAT)

ISSUE NUMBER..............(SWITCH

Lot Description

TELEPHONE NUMBER DURING THE SALE

Lot No.

(tel. bids only)

LIVE AUCTION BIDDING FORM

FOR WRITTEN/FIXED BIDS

Where appropriate your written bids will be rounded down to the nearest amount consistent with the auctioneers bidding increments

EXPIRY DATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Please write clearly and place your bids as early as possible, as in the event of identical bids, the earliest bid received will take precedence. Bids should be submitted in (£) sterling at least 24 hours before the auction.

Please note that we may contact you to Request a bank reference. In addition we Will require sight of a government issued ID and proof of address prior to collection of purchases.

TYPE OF CARD AND NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Fax

NAME ON CARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Mobile

Tel

Lot Description

Fax

Mobile

New Clients:

Postcode

Address

Please note that the execution of written and telephone bids is offered as an additional service for no extra charge, and at the bidder’s risk. It is undertaken subject to our other commitments as the time of the auction. We therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise.

Postcode

Last name

IMPORTANT

Last name

Bids will be executed for the lowest price as is permitted by other bids or reserve.

SALE DATE 12th June GARDEN, DESIGN & 2018 NATURAL HISTORY

First name

Maximum Sterling price (excluding premium & VAT)

GS075

Title

LIVE AUCTION BIDDING FORM

SALE NUMBER

✂

Summers Place Auctions Ltd

EXPIRY DATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ISSUE NUMBER..............(SWITCH

ONLY)

LAST DIGIT OF SECURITY CODE

..............................

Signed _________________________________________ Dated ____________________________ Please send this form by post to Summers Place Auctions Ltd, The Walled Garden, Stane Street, Billingshurst, West Sussex RH14 9AB

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GUIDE FOR ABSENTEE BIDDERS If you are unable to attend an auction in person, you may give Summers Place Auctions Bid Department instructions to bid on your behalf by completing the form overleaf. This service is free and confidential. Please record accurately the lot numbers, descriptions and the top hammer price you are willing to pay for each lot. We will try to purchase the lot(s) of your choice for the lowest price possible and never for more than the top amount you indicate. “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers. Bids must be placed in the same order as in the catalogue. This form should be used for one sale only - please indicate the sale number, title and date on the form. Please place your bids as early as possible, as in the event of identical bids the earliest received will take precedence. Wherever possible bids should be submitted at least twentyfour hours before the auction. Where appropriate, your bids will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. Absentee bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter. Please note that the execution of written bids is offered as an additional service for no extra charge at the bidder’s risk and is undertaken subject to Summers Place Auctions other commitments at the time of the auction; Summers Place Auctions

therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise. Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods.

By signing this Absentee Bid Form you agree to such disclosure. Clients will please note that for security purposes, Summers Place Auctions premises are subject to video recording. Telephone calls e.g. telephone bidding/voicemail messages may also be recorded.

Please post or e-mail up to 12th June 2018 The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331

All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue. We reserve the right to seek identification of the source of funds received. In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies' services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g. credit information). If clients provide Summers Place Auctions with information that is defined by law as "sensitive", they agree that Summers Place Auctions may use it for the above purposes. Summers Place Auctions will not use or process sensitive information for any other purpose without the client's express consent. In order to fulfil the services clients have requested, Summers Place Auctions may disclose information to third parties (e.g. shippers). Some countries do not offer equivalent legal protection of personal information to that offered within the EU. It is Summers Place Auctions policy to require that any such third parties respect the privacy and confidentiality of our clients' information and provide the same level of protection for clients' information as provided within the EU, whether or not they are located in a country that offers equivalent legal protection of personal information.

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Lot No.

Sealed bid Sterling price (excluding premium & VAT)

Lot Description

ONLY)

Lot No.

ISSUE NUMBER..............(SWITCH

SEALED BIDDING FORM

LAST DIGIT OF SECURITY CODE

New Clients Please note that we May contact you to request a bank reference. In addition we will Require sight of a government Issued ID and proof of address prior to collection of purchases

Clients wishing to bid on an “either or” basis should list the lots they are interested in with the price they are prepared to pay in order of preference with “OR” written between each one.

Signed _________________________________________ Dated ____________________________

..............................

EXPIRY DATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

TYPE OF CARD AND NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

NAME ON CARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Fax

I agree to be bound by Summers Place Auctions Ltd “Condition of Business” as published in the catalogue which govern all purchases at auction, and to pay the published Buyer’s Premium on the hammer price plus any applicable taxes. I consent to the use of this information and any other information obtained by Summers Place Auctions. I am aware that all telephone bid lines may be recorded. Payment is due immediately after the sale in pounds sterling. Full details on how to pay are included in our Guide for Buyers. If you wish to pay for your purchases by card please complete the details below and your Card will be charged.

IMPORTANT

Tel

Address

First name

Mobile

New Clients Please note that we May contact you to request a bank reference. In addition we will Require sight of a government Issued ID and proof of address prior to collection of purchases

Summers Place Auctions Ltd

Title

Clients wishing to bid on an “either or” basis should list the lots they are interested in with the price they are prepared to pay in order of preference with “OR” written between each one.

Postcode

Tel

SEALED BIDDING FORM

Fax

Mobile

Postcode

Last name

The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final.

Last name

Address

BIDS MUST BE RECEIVED BY 13th June 2018, 4PM BST

IMPORTANT

Sealed bid Sterling price (excluding premium & VAT)

First name

Lot Description

SALE NUMBER GE076

Title

✂

Summers Place Auctions Ltd

NAME ON CARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DEBIT CARD NUMBER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

EXPIRY DATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ISSUE NUMBER..............(SWITCH

ONLY)

LAST DIGIT OF SECURITY CODE

.............................. 247

Signed _________________________________________ Dated ____________________________

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SEALED BID AUCTION LOTS All sealed bids must be with us, at the latest, by 13th June 4.00pm BST since the bids will be opened on the 14th June. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. Sealed bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter or e-mail to the Bid Department. Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods. All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue.

Place Auctions may use it for the above purposes. Summers Place Auctions will not use or process sensitive information for any other purpose without the client’s express consent. In order to fulfil the services clients have requested, Summers Place Auctions may disclose information to third parties (e.g. shippers). Some countries do not offer equivalent legal protection of personal information to that offered within the EU. It is Summers Place Auctions policy to require that any such third parties respect the privacy and confidentiality of our clients’ information and provide the same level of protection for clients’ information as provided within the EU, whether or not they are located in a country that offers equivalent legal protection of personal information. By signing this Sealed Bid Form you agree to such disclosure. Clients will please note that for security purposes, Summers Place Auctions premises are subject to video recording. Telephone calls e.g. telephone bidding/voicemail messages may also be recorded.

Please post or e-mail up to 13 June 2018, 4.00pm BST. The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331 Email sealedbids@summersplaceauctions.com

We reserve the right to seek identification of the source of funds received. In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies’ services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g. credit information). If clients provide Summers Place Auctions with information that is defined by law as “sensitive”, they agree that Summers

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Summers Place Auctions Ltd

SUMMERS PLACE BILLINGSHURST

Home & Garden

THE WALLED GARDEN

WEST SUSSEX

+44(0)1403 331 331

www.summersplaceauctions.com

12th/13th June 2018

RH14 9AB