GOD SAVE THE QUEENS

God save the queens

Cover Image: detail of an imperial filigree gold headband. Presented by Sue Ollemans on p.90

Special Edition

May 2023

This catalogue is a tribute to the beauty and strength of feminity. From the nurturing mother, to the powerful queens and goddesses, feminity is a source of power and grace. We admire women for their selflessness, their resilience, and their unwavering commitment to bettering the lives of those around them. They are the backbone of society, and we are forever indebted to them for their contributions. We honor their wisdom, compassion, strength, beauty and courage.

The objects are presented with a full description and corresponding dealer’s contact information. Unlike auction sites or other platforms, we empower collectors to interact directly with the member dealers for enquiries and purchases by clicking on the e-mail adress. Feel free to ask the price if the artwork is listed with a price on request.

In order to guarantee the quality of pieces available in the catalogues, objects are systematically validated by all our select members, who are the in-house experts. Collectors are therefore encouraged to decide and buy with complete confidence. In addition to this, we propose a seven-day full money back return policy should the buyer not feel totally satisfied with a purchase.

We are proud to announce that in June, we are media partners of two art fairs: Printemps Asiatique & Civilisations. Several of our members have the opportunity to take part in these events, and their works are featured in this catalogue with the logo of the respective events. More info at the end of the catalogue.

Tolkien, The Fellowship of the Ring

"The goddess of laughter and of light; the one who can bring joy to the darkest of nights."

J.R.R.

B UST OF D U r GA

India

12th century Black stone

Height: 51,4 cm

Provenance: Private American collection

Parke-Bernet galleries, 1965

Price on request

O BJECT Pr ESENTED BY:

Christophe Hioco

T.: +33 (0) 1 53 30 09 65

E.: info@galeriehioco.com

W.: www.galeriehioco.com

This black stone sculpture depicts a female deity in bust form, in a frontal position. The goddess, sculpted in high relief, stands out from an imposing architectural frame, her bare chest richly adorned with necklaces and bracelets. She is wearing a high bun made of multiple braids, which is similar to the ascetic’s bun, an iconographic element specific to representations of the god Śiva. This element, as well as the crescent moon that adorns this sophisticated hairstyle, in addition to the trident that the goddess holds in her upper left hand; indicates to us the Śivaitan cultic context in which the work was created.

An embodiment of the Indian art female canon in medieval times, in view of her supple plasticity and opulent bosom, the goddess nevertheless appears to be in a defiant attitude. Her frontal attitude, as well as the austere –almost cold – expression of her face, leads us to believe that she is the goddess Durga. Indeed, according to Hindu mythology, she is a goddess ready for battle. It is therefore common to find representations of the goddess riding a lion or overcoming a demon in India, sometimes in an attitude of extreme violence.

VETTED BY:

The slender goddess is depicted with four arms, and was originally meant to be standing, according to representations of Durga in her form as supreme goddess. She holds the trident in her upper left hand, while her lower hand makes the gesture of fearlessness (abhayamudra). On the right, her lower hand is lacunar, while the upper hand seems to be holding a sword, an attribute also characteristic of the goddess Durga.

The architectural structure that frames the sculpture, the use of black stone, as well as the very oval face, with its fine and stylised features, suggest that this is a sculpture from northwest India. More precisely, the dichotomy between the treatment of the flesh and the opulence of the ornaments brings this bust closer to Chalukya statuary, a younger branch of which ruled the Gujarat region between the 10th and 13th centuries, before the Muslim conquest. Chalukya art is thus illustrated by the finesse of the ornamentation, which is found here in the treatment of the jewellery and the bun.

KO r EWO r I FIGU r E

Female spirit figure

Inyai-Ewa

Korewori, Middle Sepik, P.N.G. 19th century or earlier

Carved wood and pigments

Height: 96 cm

Provenance:

Loed Van Bussel collection, Amsterdam

Adrian Schlag collection, Brussels / Ibiza

Price on request

O BJECT Pr ESENTED BY:

Julien Flak

M.: +33 6 84 52 81 36

E.: contact@galerieflak.com

W.: www.galerieflak.com

This sculpture presents the classical characteristics of female spirit figures in the ancient art of the Ewa region (upper part of the Korewori river). The Metropolitan Museum of Art in New York notes that such figures are often described as the representations of two primordial sisters who, according to oral tradition, were at the origin of the creation of the valleys where the Inyai-Ewa people live and hunt. These supernatural beings are seen as the female ancestors or founders of particular clans.

Spirit figures were kept in the sacred part of the Men’s House (ceremonial house), or in shelters under overhanging rock cliffs or caves serving as palaces for religious or commemorative rituals.

Female representations are much rarer than their male counterparts, the aripa figures represented in profile and standing on only one foot in Korewori art.

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F EMALE FIGU r E AS YOGINI

North India

10-11th century

Sandstone

Height: 102 cm

Provenance: Claude de Marteau, Brussels by 1970’s Price on request

This almost life-size upright goddess with four arms is an outstanding example of the celebrated representation of the feminine beauty in Indian art. She wears an elaborate necklace of stylized leaf buds with a central long tassel, a multistrand necklace and armbands. The ribbons and beaded swags are symmetrically arranged across her thighs. Her hair is piled up on her head and held in place by an ornamented crown. She is backed by an elaborate openwork Nimbus or Aureole with floral pattern. This female figure’s bodily form is voluptuous with a powerful expression.

This goddess can be identified as a yogini, an aspect of the Great Goddess. Yoginis are tantric goddesses who were worshipped in order to harness their powers for protective and religious purposes.

From the 9th till the 12th century a number of Yogini temples were built in India; yoginis were frequently worshipped in circular temples in groups of 64. They might have supernatural and magical powers on their worshipers, leading to success and fame.

O BJECT Pr ESENTED BY:

Farah Massart

M.:+32 495 289 100

E.: art@famarte.be

W.: www.famarte.com

VETTED BY:

S H ō K ANNON (G ODDESS OF M E r CY )

Hanging scroll

Japan

16th century

Muromachi period

ink, colour and gold on silk

Scroll: 203 x 100 cm (80” x 39½”)

Painting: 122.5 cm x 80.5 cm (48¼"" x 31¾"")

Price: 68.000 euros

O BJECT Pr ESENTED BY:

Gregg Baker Asian Art

M.: +32 (0) 468 00 5685

E.: info@japanesescreens.com

W.: www.japanesescreens.com

A silk kakemono (hanging scroll) painted in ink, colour, gold and kirikane (thinly cut gold leaf) with a Shō Kannon seated in kekka fuza (lotus position) on a lotus pedestal raised on a fourlegged dais, holding a renge (red lotus) in her left hand. The right hand is in segan-in mudra, the gesture of dispensing favours for the wellbeing of the world. The head is adorned with kebutsu crown at the base of a tall top-knot and she is wearing an elaborately decorated necklace and armlets.

Kannon or Guanyin, Bodhisattva of mercy (Sanskrit: Avalokiteshvara), personifies compassion and is one of the most widely worshipped Buddhist divinities in Japan. The name Kannon, meaning 'watchful listening' is the shortened version of her original title, Kanzeon, meaning 'the one who constantly surveys the world listening for the sounds of suffering'.

According to Pure Land Buddhism the task of Kannon is to witness and listen to the prayers and cries of those in difficulty in the earthly realm and to help them achieve salvation. The Lotus Sutra teaches that one will be granted immediate salvation by intently reciting Kannon's name to ask her for guidance. The three major sutras of Pure Land Buddhism describe Kannon's descent to meet dying devotees as the principal attendant Bodhisattva of Amida Buddha, along with Seishi Bosatsu.

VETTED BY:

Shō Kannon is the Sacred Form of Kannon, the model for all forms of Kannon and represents the pure, noble, sacred and holy. Worship of this deity originated in India between the 1st and 2nd century AD. She is also considered as one of the Six Manifestations of Kannon who protect the six realms of karmic rebirth. In this role, Shō Kannon brings salvation to those in the hell realm.

In traditional Japanese Buddhist art and sculpture, Shō Kannon commonly holds a lotus in one hand while the other may either hold a vase or form the segan-in mudra. Another attribute is the kebutsu crown which contains a small image of Amida Buddha. The kebutsu symbolises Kannon’s role as one of Amida's main attendants.

For more details, please visit: http://japanesescreens.com/catalogue/scrolls/7763/

KACHINA FIGU r E

Katsina Pahlik Mana – Butterfly

Maiden kachina doll

Hopi

Arizona, USA

Circa 1900-1910

Carved wood (Cottonwood), pigments

Height: 30 cm

TAS Exclusive price: 5.500 euros

"This Hopi doll represents the goddess of maize. In the crenelated frame around the head, you’ll see the clouds over the mountains; in the small chequerboard at the centre of the forehead, the ear of maize; and around the mouth, the rainbow [...]. Is this not poetry as we continue to hear it?” (André Breton, Le Littéraire, 1946)

Kachina dolls (or katsinam) represent spirits or gods from the pantheon of the Pueblo peoples in the American Southwest. Given to children, kachina dolls constituted a pedagogical tool allowing them to familiarize themselves with the spiritual world and perpetuating knowledge of the founding myths on which their society was based. In the Hopi pantheon, Pahlik Mana is known as the Butterfly Maiden or the Corn-Grinding Maiden.

The Butterfly Maiden is one of the most spectacular Hopi kachinas with a large and elaborate tableta (crown-like element) on top of her head, as well as her superb iconography and symbolism.

This female kachina figure appears at various times during the Hopi ceremonial year. Her performances are colorful dances who are seen as prayers for rain and bountiful harvests.

O BJECT Pr ESENTED BY:

Julien Flak

M.: +33 6 84 52 81 36

E.: contact@galerieflak.com

W.: www.galerieflak.com

Alph H. Secakuku notes in “Hopi Kachina Tradition: Following the Sun & Moon” that when Pahlik Mana appears, certain key Kiva members must fast and abstain from contact with the opposite sex. The fasting achieves spiritual concentration and dedication through self-purification of the mind and spirit.

VETTED BY:

May we all gather seven kinds of prosperitywealth, quality, offspring, long life, happiness, praise and wisdom.

VASUDHĀ r Ā

Goddess of abundance and the consort of Jambhala

Nepal

Circa 14th century

Gilt copper alloy

Height: 12 cm

Provenance:

Christie's London 2004

Price on request

O BJECT Pr ESENTED BY:

Hollywood Galleries

T.: +852 2559 8688

+852 2541 6338

E.: hollywoodgalleries@gmail.com

W: www.hollywood-galleries.com

VETTED BY:

rAKTAK r UDDHA VA r AHI

Mongolia 19th century Mineral pigment and gold on paper

11 cm x 9 cm

Provenance:

Acquired from Suzy Lebasi 4

November 2002

Boris Kaspiev collection

Price on request

O BJECT Pr ESENTED BY:

Hollywood Galleries

T.: +852 2559 8688

+852 2541 6338

E.: hollywoodgalleries@gmail.com

W.: www.hollywood-galleries.com

Encircled by flames, the red r aktakruddha Varahi, the consort of Chakrasamvara, dances in ardhaparyanka asana on a corpse, which lies on a sun disc and lotus within a crossed triangular mount, symbolising method and wisdom. She brandishes a kharttika (chopper) in her outstretched right hand, and in her left hand she holds a blood-filled skull cup. In the crook of her left hand is a khatvanga, or staff. Her naked body is adorned with a crown of five dry skulls, bone ornaments and a garland of freshly severed heads. In her flaming red hair is a sow’s head, which gazes up to the paradise realm of dakinis. Seated above her in the clouds is the four-armed Prajnaparamita. raktakruddha Varahi is surrounded by the four directional dakinis. Clockwise from top left –Padma Dakini; Karma Dakini; Vajra Dakini and ratna Dakini.

The visualisation of raktahruddha Varahi is employed in the chod practice for cutting through strong attachments.

On the reverse, there are six sets of the blessing and empowerment mantra ‘Om Ah Hum’ for each of the six figures on the front side.

refer Mongolian Buddhist Art, Volume 1 part 2 Thangkas, Appliques and Embroideries, Serindia, USA, 2011, plate 309 page 700 for similar.

VETTED BY:

VAJ r AVA r AHI

Tibet 14-15th century Densatil style, gilt copper alloy

Height: 10,4 cm

Provenance:

Dr Phillip and Patricia Adams collection, Australia

Exhibition:

The Touch of Devotion, May 26-29, 2018, Hong Kong Convention and Exhibition Centre.

Publication:

The Touch of Devotion, Hollywood Galleries, 2018, no.03

Price on request

O BJECT Pr ESENTED BY:

Hollywood Galleries

T.: +852 2559 8688

+852 2541 6338

E.: hollywoodgalleries@gmail.com

W: www.hollywood-galleries.com

Vajravarahi is a wrathful form of Vajrayogini; she is one of the most popular Tantric female deities. She is specially worshipped in the Kagyu school of Tibetan Buddism. When Vajravarahi appears in the Yab-yum form with Chakrasamvara(father-mother), it symbolizes the merging of wisdom and compassion.

This finely detailed small statue of Vajravarahi shows her dancing on a human corpse on top of the lotus pedestal. She has a small sow head (varahi) emerging from the right side of her head. Vajravarahi has three eyes, one vertically located on the forehead, between the eyebrows, also known as the eye of spiritual wisdom. She holds a chopper (karttrika) in her raised right hand, to overcome demonic obstructions. In her left hand, she holds a skullcup (kapala) in front of her chest. She wears a long garland of human skulls, a billowing scarf, earrings, bracelets and a five-skull crown.

The statue is consecrated and the bottom is sealed with a gilded copper plate engraved with a double dorje within a circle. This statue is very similar to a group of central Tibetan 1415th century larger gilded statues identified as having come from Densatil.

VETTED BY:

NEITH

Figure

Egypt

Saite period

26th dynasty, 664 / 525 BC

Bronze with green patina

Height: 18,5 cm

Provenance: Former Charles Schanté collection, Paris

Acquired by Philippe Dodier from the latter between 1966 and 1968

Private collection

Export certificate for permanent cultural property dated December 1, 2015. No. 170183.

Exhibited and published in: “The taste of Egypt” page 41, Cat. 18. Avranches Art and History Museum, 2016.

Price: 8.000 euros

O BJECT Pr ESENTED BY:

Laurent Dodier

M.: + 33 6 08 22 68 15

E.: laurentdodier@wanadoo.fr

W.: www.laurentdodier.com

Statuette representing the Goddess Neith walking. She wears the headdress of Lower Egypt. Goddess of the city of Sais, Neith was the creator of weaving, she was the protector of sleep, sarcophagi and canopic jars.

VETTED BY:

"O sister, hear me still, though I forget The names of those who taught me how to pray; Though a wild cloud o'er my memory roll, And I forget the nun who loved my soul."

Thomas Moore, The Dying Nun

A deeply spiritual depiction of the Virgin Mary, sensitively carved with refined elegant lines; rare.

T IMO r M ADONNA

Figure 19th/very early 20th century

Wood Height: 39,5 cm

Provenance:

Fred r. Kline collection, Santa Fe

Price: 9.000 USD

O BJECT Pr ESENTED BY:

Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

W. : www.tmurrayarts.com

VETTED BY:

This powerful sculpture captures the early transition from Animism to Christianity to the West Sumba taste.

S UMBA M ADONNA

Figure 19th / very early 20th century

Wood

Height: 48 cm

Price: 7.500 USD

O BJECT Pr ESENTED BY: Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

W.: www.tmurrayarts.com

VETTED BY:

E LEMENT F r OM A S HAMANIC A P r ON DEPICTING A TANT r IC F EMALE D EITY

Figure

Tibet or Himalayan environs

17th - 18th century or earlier

Bone

Height: 5,75 cm

Price: 5.500 USD

O BJECT Pr ESENTED BY: Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

W.: www.tmurrayarts.com

Observed is a wrathful manifestation of a female tantric deity, Vajravarahi, recognized by her ceremonial staff, khatvanga.

The goddess is associated with triumph over ignorance. It is an element from a shaman's apron that was carved from the bones of monks; they served to both remind the viewer of their mortality and venerate the deceased.

VETTED BY:

The heart of a mother is a deep abyss at the bottom of which you will always find forgiveness.” Honore de Balzac

A PAINTING OF A MOTHE r AND A CHILD

Unknown artist

China

Qing dynasty (1644-1912)

Circa 1800

Ink painting, ink and colors on paper

Mounted on a board, considerable wear to the painting

Height: 69 cm (17 in.)

Width: 79 cm (21 in.)

Provenance:

Gérard Tiry (1921-2016), a collector and world traveler who was an important donor to the Palais de Beaux Arts in Lille, France

Price: 3.500 USD

O BJECT Pr ESENTED BY:

Alan Kennedy

M.: +1 646 753-4938

E.: kennedyalan@hotmail.com

W.: www.alankennedyasianart.com

A young mother is depicted as she reclines on a bed, with her left hand gripping her baby boy, as he grabs at her left breast. She has an air of cultivation, as there is a scroll next to the cushion that supports her right forearm, and her right hand holds a fan with a delicately painted peony. The young woman’s robe is decorated with roundels featuring the double happiness character, such as might be seen on a robe suitable for a wedding. Such imagery depicting a young woman and a child represents a theme most often seen in so-called “export” paintings, which were often executed in oil paints on canvas, or painted onto a panel of glass. (see the oil painting, lot 269, Sotheby’s New York, , 17 March 2021) This painting is uncommonly on a paper support, and is larger in size that the typical oil painting, or reverse glass painting.

VETTED BY:

There are erotic overtones in such paintings. Breasts are often exposed, and the young women’s bodies are positioned as an odalisque would be in a European painting. The male babies are usually nursing, although this painting is different in that the boy is merely grabbing at his mother’s breast, while his other hand holds a lotus pod that seems to mimic a ruyi scepter, an auspicious object.

T HULE FIGU r E

Female «star-gazer»

Early Thule culture

Greenland or Eastern Canada (Newfoundland)

Circa pre-1500 AD.

Mineralized walrus tusk (odobenus rosmarus rosmarus) with a fine crackled patina. The surface has been stabilized.

Height: 7,3 cm

Provenance:

unidentified Canadian geologist

Jean-Paul Agogue collection, Paris

Galerie Alain Bovis, Paris

Alexandre Bernand collection, Paris

Price on request

O BJECT Pr ESENTED BY:

Anthony JP Meyer

M.: + 33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

W.: www.meyeroceanic.art

The exaggerated female body - possibly pregnant - is shown encased in form-fitting traditional winter-clothing. She stands with superb form and poise in an animated «powerpose» with her distended stomach and welldefined buttocks thrust outward. Her bare head is gracefully thrown back to see the stars and rests on the hood of her anorak. The lower left corner of the mouth is drilled as if for a minute labret insertion.

VETTED BY:

BASTET

Figure

Egypt

Saite period

26th dynasty, 664 / 525 BC

Bronze with green patina

Height: 4,5 cm

Provenance:

Former Charles Schanté collection, Paris

Acquired by Philippe Dodier from the latter between 1966 and 1968

Private collection

Export certificate for permanent cultural property dated December 1, 2015. No. 170183.

Exhibited and published in: “The taste of Egypt” page 35, Cat. 73.

Avranches Art and History Museum, 2016

Price: 8.000 euros

O BJECT Pr ESENTED BY:

Laurent Dodier

M.: + 33 6 08 22 68 15

E.: laurentdodier@wanadoo.fr

W.: www.laurentdodier.com

Cat's head representing the Goddess Bastet. Her erect ears on her head are pierced and wear gold earrings. Bastet was worshiped as the goddess of fertility and protector of the home.

VETTED BY:

A KWABA

Figure Ashanti

Ghana

Wood

Height: 33 cm

Provenance: Olivier Castellano, Paris

Price: 2.500 euros

O BJECT Pr ESENTED BY:

Joaquin Pecci

T.: + 32 477 43 94 12

E.: joaquin.pecci@skynet.be

W.: www.joaquinpecci.net

VETTED BY:

A KWABA

Figure Ashanti

Ghana

Wood and glass beads

Height: 24 cm

Provenance : Bruce Franck NY

Price: 2.500 euros

O BJECT Pr ESENTED BY:

Joaquin Pecci

T.: + 32 477 43 94 12

E.: joaquin.pecci@skynet.be

W.: www.joaquinpecci.net

VETTED BY:

NEPAL FIGU r E

Female figure

Nepal

Early 20th century, possibly earlier

Presumably a lintel element, carved wood and pigments

Height: 32 cm

Provenance:

Alain Bovis collection, Paris

TAS exclusive Price: 6.000 euros

O BJECT Pr ESENTED BY:

Julien Flak

M.: +33 6 84 52 81 36

E.: contact@galerieflak.com

W.: www.galerieflak.com

VETTED BY:

B ATEBA T I B ALA

Maternity figure

Lobi

Burkina Faso

Early 20th century

Wood

Height: 38 cm

Publication:

Scanzi, Giovanni F. L’art traditionnel

Lobi. Bergamo: Ed. Milanos, 1993, p.

80 nº 37-39

Price: 9.000 euros

O BJECT Pr ESENTED BY: David Serra

T.: +34 (0) 667525597

E.: galeria@davidserra.es

W.: www.davidserra.es

VETTED BY:

B AULE FIGU r E

Maternity figure

Baule Ivory Coast

Early 20th century

Wood

Height: 46,5 cm

Publications and exhibitions:

Scanzi, G.F. La statuaire akan.

Ed. Tribalglobale Primary Art. Italie

2010, p. 247, nº 158

Price: 8.000 euros

O BJECT Pr ESENTED BY: David Serra

T.: +34 (0) 667525597

E.: galeria@davidserra.es

W. : www.davidserra.es

VETTED BY:

B I r THING H AMPATONG

Sculpture

Ot Danum or Ngadju Dayak, Central Kalimantan, Indonesian Borneo Mid 20th Century

Hardwood

Height: 175 cm

Provenance:

Hj. Syamsuddin collection

Georgia Kan collection

Price: 15.000 USD

O BJECT Pr ESENTED BY: Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

W.: www.tmurrayarts.com

This exceptionally rare Birthing hampatong served to protect the longhouse and ensure fertility.

The sculptor captures the moment a baby is coming into the world...

We see a figure seated on a Chinese Ming jar, face with an extended tongue that serves as a frightening threat.

There are animal totems on the head, one broken and restored.

Note fine curvilinear carving on base below.

VETTED BY:

Dickinson

“A crown is merely a hat that lets the rain in.”

Emily

A N I MPE r IAL G OLD P HOENI x H EADBAND

China Qing Dynasty 17/18th century

Price

O BJECT Pr ESENTED BY:

Sue Ollemans

M.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

W.: www.ollemans.com

The filigree gold headband is cleverly designed as three hinged segments, decorated with graceful lotus flowers framed by fine openwork borders, the top of the band adorned with nine beautifully worked phoenix, the back of each has a single ruby inset with a pearl, the wings are wired to create a trembling effect, each bird is separated by eight blossoms with layered filigree petals and surmounted with a single pearl. The superb quality of the hairpiece suggests it was made for informal use or used in a bridal ensemble of important court events. The symbol for the phoenix was associated with the Empress. In the official portrait of Empress xiaozhuangwen (1613-1688) she is seen wearing a differently designed crown decorated with phoenix and pearls.

The elaborate hair decoration of the Manchu court meant there was often a solid band placed on the crown of the head to keep the high offerings of flowers and jewels in place.

VETTED BY:

M AO r I H EI T IKI

Hei Tiki

Maori people

New Zealand, Polynesia.

Nephrite with a fine patina of wear and age.

Te Puawaitanga (the flowering) period (1500 – 1800 AD).

Height: 10,5 cm.

Provenance : Private collection Maryland, USA.

Price on request.

O BJECT Pr ESENTED BY:

Anthony JP Meyer

M.: + 33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

W.: www.meyeroceanic.art

The exceptional proportions, as well as the quality of the carving and the beauty of the stone, place the present hei tiki amongst the most remarkable treasures (taonga) of Maori art, an object, which superbly combines the principles of power and ornament and beauty.

A superb, type I, Hei Tiki in the form of a stylized human figure with head turned towards the left shoulder. A bi-conical suspension hole is drilled through the top of the forehead along with the trace of a previous piercing probably in the form of an extended tab. The large oval head is detached from the shoulders showing the neck which is a rare typology. The face offers a powerful grimace with the nose carved with a double crossbar and the heart-shaped open mouth showing the canines and the curved, forked tongue (indicative of the power of political speech) over the pointed chin. The eyes are deeply set with large circular wells and prominent pupils under strong brows. The torso is finely rendered with the ribcage apparent, powerful shoulders, and the hands akimbo on the strong arched thighs. The three fingers of each hand are well detached from each other and the elbows, knees and ankles, and triple toes are indicated. The female gender is indicated by the presence of a welldefined vulva under the belly.

VETTED BY:

Most Hei Tiki, including many of the very large examples, are relatively narrow, being carved from chiefly nephrite adze blades. Thus, the outer sides of the arms are flat edged and the general relation of width to length of the large tiki is quite low. Here we have a high ratio with a wide body relative to the length of the figure, which indicates that this Hei Tiki was carved from a particularly massive jade blade. It corresponds to the Type B of the Hei Tiki Shape Chart by D. Austin 2015. The body projects forcefully outwards. The tension of the curves and counter-curves is accented by inclined

planes drawing the eye inwards. The fine balance of the openwork areas of the arms and legs creates a perfect symmetry accentuated by the placing of both hands on the powerful thighs. The ribcage is well defined and carved adding power to the large shoulders. The powerful face is symmetrically carved with strong brows framing wide in-set round eyes. The nose is flattened with large aggressive nostrils and the peaked bridge representing Mount Taranaki. The open, grimacing mouth offers a pointed lower lip, and two upper fangs protrude to either side of the extended, forked tongue.

These nephrite (pounamu) Hei Tiki, hei (pendant) tiki (human image), were worn by men and women of high rank, and served both as ornaments and symbols of authority. They were imbued with sacred power (mana) and the material itself was reserved exclusively for ownership by noble bloodlines. Hei tiki of this remarkable sculptural quality are rare, and this example is to be considered one of the very finest of its type.

The Hei Tiki – a cultural object worn around the neck - is considered a taonga tuku iho (treasured heirloom) because each hei tiki is handed down from one generation to the next and emotionally connected to the memory of tupuna (revered ancestors). No two hei tiki are alike and each one has its own personality imbued with wairua (spirit).

O SHE SHANGO SCEPTE r

Scepter

Yoruba

19th century

Nigeria

Wood

Height: 41 cm

Provenance:

Private collection, Spain

Published and exposed in:

Catalog: África: Arte y Mito. Galeria

Kumbi Saleh, Barcelona 2005

Winter exhibition catalog 2007. África.

Objectes amb ànima.

Obra Social Caixa Terrassa, Barcelona

Price: 3.000 euros

O BJECT Pr ESENTED BY:

David

Serra

T.: +34 (0) 667525597

E.: galeria@davidserra.es

W. : www.davidserra.es

VETTED BY:

Pr ECIOUS H UQQAH

MAT MADE FO r H E r

G r ACE THE D UCHESS OF D EVONSHI r E

India

19th century

Velvet, metallic thread embroidery in the zardosi technique

Price: 6.500 euros

O BJECT Pr ESENTED BY:

Alexis renard

T.: + 33 1 44 07 33 02

E.: alexis@alexisrenard.com

W.: www.alexisrenard.com

This beautiful huqqah mat is made in a traditional Indian embroidery technique called zardozi using cotton threads covered by gold or silver wire. The central medallion bears the inscription: ""From Udayavira Singha raghubansi to HG (Her grace) the Duches(sic) of Devonshire"". The raghubansi (or raghuvanshi) are a well-known rajput clan and Udayvira Singh is perhaps a minor prince of that clan.

A related example bearing no inscription in the National Trust Collections (107456) is kept in the collection of Kedleston Hall, home of Lord Curzon, former Viceroy of India.

For other examples of huqqah mats from The Clive Collection at Powis Castle, see: Archer, M., rowell C. and Skelton, r. (1987) Treasures from India – The Clive Collection at Powis Castle, Londres: Herbert, p. 106.

VETTED BY:

GOLD LEAF NECKLACE O r C r OWN

Central Java

9-10th century

Height: 43 cm

Width: 23 cm

Weight 196,8 grs

Price: 9800 GBP

O BJECT Pr ESENTED BY:

Sue Ollemans

M.: + 44 (0) 7775 566 356

E.: sue@ollemans.com

W.: www.ollemans.com

VETTED BY:

S HIVA LYNN BU r GOS, G ISELA + AND A KAMA

M IMA

Shiva LYNN BUrGOS, Gisela+ and Akama Mima

Village Life W Pig/Margimoi Tumababa

Snake Man (Eagle Clan Story)

2016 -2018

Wool yarn, nylon string, and hand rolled 'bush rope'

120 x 203 cm

Price on request

O BJECT Pr ESENTED BY:

Anthony JP Meyer

M.: + 33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

W.: www.meyeroceanic.art

Shiva Lynn Burgos is a multidisciplinary artist and curator from New York currently living and working between Paris, London and Papua New Guinea.

Her contemporary, conceptual and often collaborative practice positions itself within the unifying concepts of evolution, competition, natural and social selection. The artist is specifically concerned with how evolution presents itself biologically, architecturally and culturally. Burgos integrates field-collected and found objects with contemporary materials and technology as a resource for examining the shifting value systems of provenance in relation to currency, spirituality and custom. Burgos' works encompass photography, film, painting, bronze castings, sound compositions, tapestries, installation, performance as well as an ongoing passion for experimental and digital image-making to include artificial/ augmented reality, 360Vr, cyanotype printing and holographic imaging.

In 2013 she formed The Mariwai Project, an artistic project and cultural exchange with the indigenous artists of Papua New Guinea who are considering contemporary forms and influences. As an initiated clan member, Burgos supports the recognition of the living cultures by creating a direct link with ethnographers and museum collections. The Mariwai Project includes philanthropic support for art, culture, health, education and development in the region.

VETTED BY:

Burgos’ artwork is currently on view in the permanent collection of The Ethnologisches Museum, Humboldt Forum, Berlin and Blue Origin (Aerospace), Texas. recent exhibitions include: WhiteBox Gallery, NYC. Horizons at Singapore Art Week. Spring Break Art Show, Los Angeles, USA. Fotofestival Lenzburg, Switzerland. The Bath House of the Winds, Museum of Modern Greek Culture, Athens Gr. Contemporary Arts Center, New Orleans, USA.

Manifesta 13 Biennial Marseille, Les Parallèles du Sud, Fr. Les recontres d’Arles, Fr. Le109, Nice. Centre d’Art Gallifet, Aix-en Provence, AOrAspace. com. The US Embassy, PNG. Artist residency at Musée Archéologique de Nice-Cimiez Upcoming: art residency and research project at Museum der Kulturen, Basel

She has been invited to speak at conferences and roundtables regarding her artistic and curatorial practice including: Museum der Kulturen Basel, rGM-Global Mentoring Network, Heimat Museum-Davos with SAS, Samsung Innovation Space with The British Council, The Australia Museum, The Oceanic Art Society, Atria Paris, The US Embassy, PNG and as a Council member of The Global Foundation at roundtables in rome, Assisi and Paris. Burgos is a member of the Pacific Arts Association and an advisor to the Nobel Sustainability Trust.

According to the Kwoma people's custom, women may not participate in painting or carving, the main art forms in their culture. They are active in the handicrafts of ceremonial attire and shell adornments, pottery and weaving. Women weave bilums (string bags) from natural hand rolled 'bush rope' or from brightly coloured wool yarn or nylon string bought in nearby markets. The woven patterns of bilums follow traditional designs linked to clan emblems as well as references to nature and modern patterns. Working together with a group of village women (Akama Mima), Shiva Lynn Burgos developed the Women’s Tapestry Initiative using embroidered tapestry as a means for female artistic expression. Stitching wool and bush rope onto vinyl mesh Burgos and the group continue to create this series of “tapestries” that combine representational clan symbols (pig,crocodile, sun and moon); daily life (fish, birds,home); bilum bag motifs (mountain, water, cross) and contemporary designs to create a new art form in which women can participate fully. Works from this initiative have been exhibited in museums, private members clubs and art institutions. Sales proceeds directly benefit Akama Mima and Mariwai Village towards culture, health and education.

The beauty of a woman is not in the clothes she wears, the figure that she carries or the way she combs her hair. The beauty of a woman is seen in her eyes, because that is the doorway to her heart, the place where love resides."

Audrey Hepburn

G IL D ED SILVE r COMB

Sumatra, Indonesia

Late 19th – early 20th century

Gilded silver

Price: 2.300 euros

O BJECT Pr ESENTED BY:

Alexis renard

T.: + 33 1 44 07 33 02

E.: alexis@alexisrenard.com

W.: www.alexisrenard.com

This type of combs was part of the bridal trousseau.

A closely related example is kept in the collection of the Museum of Fine Arts, Houston (2004.2314).

For another closely related piece, see: GeoffroySchneiter, B. (2011) Bijoux d'Asie - Bagues, bracelets, colliers, boucles d'oreilles, ceintures, parures de tête ethniques de la collection Ghysels, Milan: Skira, p. 255.

VETTED BY:

AGNI COMB

Comb Agni Ivory Coast

Wood Height: 34,5 cm

Price: 1.500 euros

O BJECT Pr ESENTED BY:

renaud Vanuxem

M.: +33 6 07 11 50 60

E.: rvanuxem@yahoo.fr

W.: www.renaudvanuxem.com

VETTED BY:

J ADE N ECKLACE

China Circa 1900

70 cm

Price on request

O BJECT Pr ESENTED BY:

Brandt Asian Art

M.: +44 (0)7774 989 661

E.: brandt@nildram.co.uk

W.: www.brandtasianart.com

A white jade necklace with suspended carvings of bells, ingots, leaves, baskets of flowers and markers. The oval beads interspersed with further ones of coral and blue enamelled amber, silver clasp with impressed mark, one leaf with a Qianlong mark.

VETTED BY:

A Bronze belt clasp with dragon head hook, the blue glass insets of good deep colour and well domed.

Br ONZE B ELT C LASP

China

Circa 1900

Length: 7,5 cm

Price on request

O BJECT Pr ESENTED BY:

Brandt Asian Art

M.: +44 (0)7774 989 661

E.: brandt@nildram.co.uk

W.: www.brandtasianart.com

VETTED BY:

A B r ONZE FLOWE r VESSEL INLAID IN HI r AZOGAN ( LOWr ELIEF INLAY ) WITH D r AGONFLIES AMONGST G r ASSES

Arita Toshiaki (act. 20th century), signed: Toshiaki saku. Seal: Toshiaki. Japan, circa 1955*

Mixture of shakudō (copper and gold alloy), shibuichi (copper and silver alloy), silver and gilt

22 cm (h) x 20,5 cm (W) x 20,5 cm (D)

Exhibition:

11th Nitten (The Japan Fine Art Exhibition), Tokyo Metropolitan Art Museum, 1955*

Publication:

Nittenshi (History of Nitten) vol.18 p.

496 pl.12

Price: 3.200 euros

O BJECT Pr ESENTED BY:

Gregg Baker Asian Art

M.: +32 (0) 468 00 5685

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Tombo (dragonfly) in Japan is emblematic of martial success as various names for the insect are homophones for words meaning ‘victory’. It also is a seasonal symbol of late summer and early autumn.

Tomobako (original box) inscribed:

Lid: Seireibun kabin. (Dragon fly design flower vessel)

Lid interior: Arita Toshiaki.

VETTED BY:

"The first blush of womanhood is like the dawn of day, a beautiful and tender light that warms the heart and awakens the soul."

Elizabeth George

B EAUTY S C r OLL

China

18th/19th century

Size: 75 cm

Price on request

O BJECT Pr ESENTED BY:

Brandt Asian Art

M.: +44 (0)7774 989 661

E.: brandt@nildram.co.uk

W.: www.brandtasianart.com

Three court beauties seen through a garden window, one seated at her dressing table gazing into a mirror, below a blossoming cherry. The scrip translates "In the spring of 1743 or 1803 I used my own technique to draw this painting. I tried for many days, and by the end of the year I feel I cannot draw… please do not laugh at what I did"

VETTED BY:

N OH MASK OF KO -O MOTE

Carver: Omiya Sanemori Yamato

Japan

Edo period

17th century

Wood, gesso, polychrome pigments

Kiribako storage box

20,9 cm (h) x 12,9 cm x 6,7 cm

Price on request

O BJECT Pr ESENTED BY:

Galerie Mingei

M.: +33 (0)6 09 76 60 68

E.: mingei.arts.gallery@gmail.com

W.: www.mingei.gallery

Seal engraved by burning: “Tenka ichi Yamato”*

Signed on the reverse in gold lacquer “Tōkai Gaishi” by the former owner Yamauchi Yōdō** Gaishi (Tōkai Gaishi), the feudal lord (daimyo) of the Tosa clan

*Noh theater is a traditional Japanese performing art. It attained its completed form during the Muromachi period (1392-1573), with many Noh masks produced during this time. Noh became a cherished pastime of the warrior class and this led to soaring demand for copies of famous masks. From 1593 to 1682, the most accomplished replica makers were awarded the name ""Tenkaichi"". Their copies would perfectly replicate the originals, from the facial features and inner carving to the maker's branded seal and any cracks and blemishes. Despite this fidelity, the individuality of these replica masters still shines through in these works.

see: Tokyo National Museum, 150th Anniversary

Thematic Exhibition "Masterpieces of Early Modern Noh Masks: The "Tenkaichi" Mask Makers"

VETTED BY:

**Yamauchi Toyoshige (山内 豊信?, 18271872) was a prominent daimyo of late Edo period Japan. He is also known by his gō ""Yōdō"" (容堂). As lord of the Tosa domain of the Shikoku region, he carried out reforms with the samurai Yoshida Tōyō. During the purge of Ansei (1858-1859), he was released on probation and then retired. In 1862, he was named sanyo (参与). In 1867, he advised the shogun Tokugawa Yoshinobu to carry out the Taisei houkan (return of the emperor to power).

Ko-omote is a noh mask representing a girl in the first blush of womanhood. The full cheeks, engaging, full-lipped smile, dimpled chin, and eyes that swerve up at the sides suggest an outgoing, engaging personality. The ""caterpillar"" eyebrows are painted high on a full forehead and the black hair parted in the middle has three loose strands on each side etched out with a carving tool. Ko-omote is used both for supporting roles tsure ツレ by all schools of noh and for main shite シテ roles portraying young women by the Kita and Konparu schools.

N ADESHIKO (P INKS )

Japan

Edo/Meiji period

19th century

A six-fold screen. Ink, colour and gold leaf on paper

176 cm (h) x 377 cm (w)

Price: 30.000 euros

O BJECT Pr ESENTED BY:

Gregg Baker Asian Art

M.: +32 (0) 468 00 5685

E.: info@japanesescreens.com

W.: www.japanesescreens.com

Nadeshiko (fringed pinks) are often shown in Japanese painting. The delicate beauty of the flowers belies the hardiness and strength of the plant. This has given it a long tradition in literature, and a place as the symbol of the ideal woman – a combination of strength and grace.

VETTED BY:

SNUFF BOTTLE

China Bottle 1800-1850, Painting: Circa

1960

Crystal Height: 7 cm (excluding the stopper)

Provenance:

Sotheby’s London, 1970

Mary Morrison, Vancouver

And thence by descent

Price on request

O BJECT Pr ESENTED BY:

Clare Chu Asian Art LLC

M:+ 1.310.980.4084

E.: clarechuasianart@gmail.com

A smoky crystal snuff bottle, of rectangular form with raised panels, painted on the inside using ink and watercolors with, on one main side, the Qiao sisters conversing in a garden under a willow tree issuing from rockwork, outside a window where a musician plays the qin, the reverse with the sisters sitting on a stone bench, under a pine tree in a walled garden, reading together, one narrow side signed Ye xiaofeng with one red seal.

Ye xiaofeng was one of the sons of Ye Zhongsan who worked in his father’s family studio until his father’s death in 1945, signing his father’s name on inside painted bottles as part of the studio’s output. Ye xiaofeng signed his own name after his father's death and the setting up of his own school with his sibling Ye Bengqi in 1957. Ye xiaofeng followed in his father's footsteps in choosing older bottles where they were available to paint inside. The two Ye brothers’ first students were Wang xisan, Liu Shouben, Ding Guiling and Ye Shuyin (Ye Bengqi’s daughter).

The Qiao sisters were featured in the 14th century historical novel, romance of the Three Kingdoms. They were known to be exceptionally beautiful. One sister married the warlord Sun Ce, while the other married one of his generals, Zhou Yu. They are often depicted together awaiting the return of their husbands from battle.

VETTED BY:

“A secret to which truth has always initiated her lovers, and through which they have learned that it is in hiding that she offers herself to them most truly.”

Jacques Lacan

LUCILE SOUSSAN

"L'Oeuf du Monde" (The Egg of the World)

2019

Set of nine hand-printed photogravures and black mirror (3 copies).

100 x 80 cm

Winner of the 3 UNDEr 30 competition from Daniel Blau Gallery in 2020.

Exhibited at the Meyer Gallery during the Saint Germain Photo Festival in January 2021.

Price on request

O BJECT Pr ESENTED BY:

Anthony JP Meyer

M.: + 33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

W.: www.meyeroceanic.art

Born in 1990, the French multidisciplinary visual artist Lucile Soussan extends her field of action from traditional craftsmanship to contemporary art and specializes in color design for the luxury and cosmetics industry. Winner of the 3under30 prize promoted by the Galerie Daniel Blau and former student of the National School of Fine Arts in Paris at Eric Poitevin's studio. Her work is rooted in ancestral cultures. In her eyes, there is a strong kinship in the unique bond of these peoples with nature and she recognizes herself in this sacred approach to life. Photography remains for her a nomadic art to discover shoots in nature like a hunter-gatherer of images. From these collections made during long hikes, she keeps memories associated with their digital files. The challenge is to restore materiality and make this memory exist.

She is imbued with images by Georges Shiras and texts by Jean-Christophe Bailly, the animal constitutes “an Other” whose discretion fascinates her. Soussan is particularly strongly influenced by contemporary Japanese photographers, Takashi Homma and Naoki Ishikawa. The raw vivacity of their images moves her, and this is perhaps one of the reasons that motivated her to combine photography and engraving. Photoengraving allows, by means of a complex experimental technical process, to engrave a copper plate which will become what she calls "a mold of an image".

This adventure allows her to reactivate the memory of sparks from a distant nature.

VETTED BY:

Nine fragments reconstitute an image found at the water's edge of a coastal forest in Japan. Here, a bay in the hollow of the rocks has retained a sample of the immensity of the Pacific. Each piece acts as a microcosm and can live independently. I like these inbetween places so well told in "The Loving Forest of the Sea" by S higeatsu H atakeyama. These rare places of interaction between land and sea, essential to the balance of nature, are a laboratory, a refuge. While climbing the rocks, this amphibious image came to my lens through a magnifying glass effect on the surface of the water. I then photographed this microcosm in homage to a print by H iroshige that is well known in the collections of the Beaux-Arts in Paris. During the development, through a turbid mixture of water and soda, the image reappeared and unsuspected details came to life. I wanted to persist in this aesthetic of the discovery of bodies.

After investigating, I discovered that this print represents an allegory of spring and that sea animals are suggestive sexual symbols in Japan. The calligraphy poems are an invitation to eroticism, an ode to the season of love. They remind me of the fundamental principle of "ki" in Japanese, which can mean "breath of life". This call to the eroticism of spring in H iroshige's engraving refers to this principle of vital impulse, to this energy which crosses and links living beings. In my photoengraving, the sign of the "ki" is manifested by the wind that comes to wrinkle the surface of the water through which life is seen in the bristling body of the sea urchin, once described as the "egg of the world".

A P r INCE AND A P r INCESS ON A TE rr ACE

Signed Gumana

Jaipur, rajasthan, India

Circa 1820

Pigments and gold on paper

Price: 16.000 euros

O BJECT Pr ESENTED BY: Alexis renard

T.: + 33 1 44 07 33 02

E.: alexis@alexisrenard.com

W.: www.alexisrenard.com

This painting possibly part of a kamasutra, it is depicting a group of Europeans in amourous embrace surrounded by attendants near a pavillion and under a cloudy sunset.

On the verso a devanagari inscription: kalam gumanâ kî (style of Gumanâ).

VETTED BY:

39 A B EAUTY ON THE V E r ANDA

Japan

Taisho period

Early 20th century

Screen. Ink and colour on silk

171 cm x 188 cm

Price: 14.000 euros

O BJECT Pr ESENTED BY:

Gregg Baker Asian Art

M.: +32 (0) 468 00 5685

E.: info@japanesescreens.com

W.: www.japanesescreens.com

This screen depicts a Geisha tuning her shamisen on the balustraded veranda of a tea house. The Bijin (beauty) is formally dressed in a plaid kimono with a cherry blossom patterned obi (sash), her hair adorned with numerous combs and ornaments. To her left are a lantern, lacquered shodana (display cabinet), sakazuki (sake cup), sake pot and a celadon bowl.

VETTED BY:

"A woman is like a tea bag; you never know how strong it is until it's in hot water." Eleanor Roosevelt

M OSSI SCULPTU r E

Sculpture

Mossi Burkina Faso

Wood

Height: 51 cm

Provenance : Franco Monti

Price: 4.800 euros

O BJECT Pr ESENTED BY:

Joaquin Pecci

T.: + 32 477 43 94 12

E.: joaquin.pecci@skynet.be

W.: www.joaquinpecci.net

VETTED BY:

C HOKWE MASK

Anthropomorphic female mask

Mwana pwo

Chokwe

Angola

Early 20th century

Wood, Tukula powder, natural fiber and brass

Provenance:

Pierre Dartevelle, Brussels

Jan Lundberg, Malmo, Sweden

Cecile Kerner, Brussels, Belgium

Publication:

Kerner (Cécile), "Afrique-Asie-Oceanie",

Brussels: Cécile Kerner, nd (2007):17

AHDrC: ao-0000919

Price on request

O BJECT Pr ESENTED BY:

Mark Eglinton

M.: +1 646-675-7150

E.: markeglinton@icloud.com

IG.: @markeglintontribalart

VETTED BY:

M ENDE MASK

Anthropomorphic female helmet

mask Soweï/Ndoli Jowi/Nòwo

Mende, Sande Society (also known as zadεgi, bundu, bundo and bondo)

Sierra Leone

43 cm

Provenance: Private collection, NY

Marc Assayag, Cote Saint Luc, Canada

2018

richard Ulevitch collection, California

Entwistle Gallery, Paris Price on request

O BJECT Pr ESENTED BY:

Mark Eglinton

M.: +1 646-675-7150

E.: markeglinton@icloud.com

IG.: @markeglintontribalart

VETTED BY:

DAN F IGU r E

Figure Dan Ivory Coast

Wood, mineral dyes, iron, vegetable fibersskaolin, and old patina of use

Height: 51 cm

Provenance: General Gustave Maignan nnes collection

Collected in Ivory Coast between 1925 and 1927 (Photo of the objects at the General's in 1931)

Estate of General Maignant, rennes

Private collection, Paris

Price:

O BJECT Pr ESENTED BY: Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W.: www.eric-hertault.com

VETTED BY:

DAN F IGU r E

Figure Dan Ivory Coast

Wood, mineral fibers, dyes and old patina of use

Height: 34 cm

Provenance: Peggy and Paul rabut collection, Westport

Sotheby's 1990 lot 66, New York

John Dintenfass collection, New York

Private collection, Europe

Sotheby's 2000 lot 232, New York

Collection Daniel PBiebuyck, Newton

Private collection, Paris

Price: 8.900 euros

O BJECT Pr ESENTED BY:

Eric Hertault

T.:+33 6 15 38 64 81

E.: hertault.eric@gmail.com

W.: www.eric-hertault.com

VETTED BY:

"For most of history, Anonymous was a woman" Virginia Woolf

S ENUFO F IGU r E

Figure Senufo Ivory Coast 19th century Height: 86 cm

Provenance: Private French Canadian collection Price on request

O BJECT Pr ESENTED BY: James Stephenson

M.: +1 646.644.7156

E: info@stephensonafricanart.com W.: www.stephensonafricanart.com

VETTED BY:

Finely modeled wearing a mask with typical linear tattoos on the chin.

TATTOED F EMALE FIGU r E

Female figure

Early Thule Culture

Alaska.

1200 - 1600 AD.

Mineralized walrus tusk (Odobenus rosmarus divergens).

Height: 8 cm

Exhibited and published : SUrrÉALISME & ArTS PrIMITIFS Une révolution du regard. Fondation Pierre Arnaud, Lens (CH), 19/06/2014 –5/10/2014

Price on request.

O BJECT Pr ESENTED BY:

Anthony JP Meyer

M.: + 33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

W.: www.meyeroceanic.art

VETTED BY:

BLOLO BLA ANCESTO r

Figure Baule Ivory Coast 20th century Wood old patina of use

Height: 30 cm

Price: 2.000 euros

O BJECT Pr ESENTED BY:

Laurent Dodier

M.: + 33 6 08 22 68 15

E.: laurentdodier@wanadoo.fr

W.: www.laurentdodier.com

Female figure represented standing. The calves are curved, the arms along the body. The feet are missing. The hands are placed on either side of the navel. The neck is cylindrical and ringed, the face serene. The rounded forehead is extended by a bun hairstyle.

Among the Baule, most men have a wife in the afterlife, called blolo bla. The fetish manifests itself in everyday material life, it is kept in the person's house and receives offerings, handled regularly, it acquires a shiny patina.

VETTED BY:

I BIBIO FIGU r E

Female figure

Ibibio

Nigeria

Late 19th century

Wood, pigments

Height: 48 cm

Provenance:

German private collection

Price on request

O BJECT Pr ESENTED BY:

Laurent Granier

M.: +33 (0)6 42791313

E: granierancient@gmail.com

W.: www.granierancient.com

A piece from the same sculptor was sold in 1915 by Umlauff to the Museum Für Volkenkunde in Berlin. See Krieger, Westafrikanische Plastik I, cat. 72 (thumbnail)

VETTED BY:

But she, seeking a nobler death, did not flinch at the sword like a woman, and sought no hidden shores with her swift fleet to regroup. She dared endure the sight of her realm in ruins, her face serenely calm, and had the strength to handle stinging serpents to absorb their black venom into her body,

fiercer as she resolved to die; no wonder she begrudged the fierce Liburnian sailors, and was no woman to be deposed and humbly led in splendid triumph.

Horace, Odes 1.37

COCO F r ONSAC

Yoni in the heart of the arena, in Arles, from the series Idols. Chimeras and Wonders

2019

Gouache on vintage photograph

10,5 x 6,2 cm

Signature : stamp of the artist coco fronsac, on the back

Location of the object : Tantric object, representing a vulva (Yoni), India.

Bibliographic source of inspiration : Galerie Meyer, Paris

Exhibition of the work : Idols exhibition. Farinier de l'Abbaye de Cluny. Bourgogne Tribal Show 2019

Collection of the work : collection of the artist

Price on request

O BJECT Pr ESENTED BY:

Anthony JP Meyer

M.: + 33 (0) 6 80 10 80 22

E.: ajpmeyer@gmail.com

W.: www.meyeroceanic.art

Born in 1962 into a family of artists, granddaughter of Lucien Neuquelman, and Camille Lesné, with a formal training in Applied Arts in Paris and experience as a former lithographer, Coco Fronsac is a versatile artist with a passion for Tribal Art and Surrealism. For thirty years now Coco Fronsac has been touring the flea markets every weekend in search of old family photos fallen into other hands through the ups and downs of personal histories. The result is an endlessly renewed collection of old portraits, that has become an integral element of her visual imagination. Through collage, carving, painting, weaving, colorization and juxtaposition, she plays with our vision of time and our relationship to the other in order to transport us into a new reality. A reality that is fluctuating, alive and abstract and in the exploration of this abundance of different worlds; each work of art becomes an invitation into her dreamlike and timeless universe. Since 2010 Coco has increased her renown and is exhibited in collective and solo exhibitions in both Europe and the USA. She lives and works in Paris.

VETTED BY:

N OH MASK

Shiro-Hannya type attributed to Tōsui

Deme Mitsunori

Japan

Edo period

18th century

Price on request

O BJECT Pr ESENTED BY:

Galerie Mingei

M: +33 (0)6 09 76 60 68

E: mingei.arts.gallery@gmail.com

W: www.mingei.gallery

Hannya is a noh mask representing a female serpent-demon filled with malicious jealousy and hatred. Two sharp horns sprout from the temples and bulbous, metallic eyes lie half hidden beneath scowling brows. The gaping mouth is full of gold teeth, with upper and lower fangs that heighten her ferocity. The flesh tone of the face varies depending on the social rank of the woman portrayed, with a lighter complexion indicating aristocratic status. Worn by the shite in the second acts of AOI NO UE, DOUJOUJI, KUrOZUKA and MOMIJIGArI . The first two plays depict women betrayed or spurned by their lovers; the second two portray demons who first appear in human form to trap the unwary.

VETTED BY:

DAN MASK

Anthropomorphic female mask Dean gle/deangle

Dan Ivory Coast Wood and fiber

22,5 cm

Provenance: Private collection James Stephenson, NYC 2015

Exhibition: SF Tribal Arts Show 2015

Price:

O BJECT Pr ESENTED BY:

Mark Eglinton

M.: +1 646-675-7150

E.: markeglinton@icloud.com

IG.: @markeglintontribalart

VETTED BY: