Malagan dance ornament

oceania | New Ireland

Malagan dance ornament

New Ireland

Vatlam hornbill figure
Mouth ornament for Malagan rituals
New Ireland, Bismarck Archipelago, Papua New Guinea

Early 20th century
Wood, pigments, shells, and beads
Length: 18.5 cm

Provenance
Ex collection Michel Descours

Malagan Mouth Ornament 18.5 cm / Galerie Flak Price on request
This bird figure (hornbill) is a dance ornament that was held between the teeth by a dancer or sometimes placed in the mouth of a mask during the ritual ceremonies of the Malangan (Malagan).

Malagan Ceremony, Tabar, 2020

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Bowl

oceania | Solomon Islands

Bowl

Solomon Islands

Early 20th century
Carved wood and shell inlays
Length: 37 cm – 14 ½ in.

Provenance
Ex private collection, Australia
Ex private collection, Singapore
Ex collection Pierre Mondoloni, France, since 2007

Solomon inlaid bowl 37 cm / Galerie Flak Price on request
Wooden bowls from the Solomon Islands are made from a light wood, stained black with plant juice mixed with charcoal. As noted by the Museum of New Zealand Te Papa Tongarewa, they come in a great range of sizes and shapes, from small plain bowls which might hold only a few yams, to very large bowls used at feasts, often to serve the portions set aside for chiefs or visitors. Nautilus shells were usually used for the inlay on smaller bowls. One of the criteria by which a master carver was recognised was his skill in cutting and placing the shell pieces on the bowl.
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Anthropomorphic figure

oceania | Papua New Guinea

Anthropomorphic figure

Papua New Guinea

Suspension hook depicting an ancestor figure
Lower Sepik, Papua New Guinea

Early 20th century
Carved wood, pigments and fibers
Height: 56 cm – 22 in.

Provenance
Ex collection Leendert Van Lier (1910-1995), Amsterdam
Ex Christie’s, Amsterdam, “African, Oceanic and Indonesian art from the Van Lier collection”, April 15th, 1997, lot 130
Ex collection Galerie Flak, Paris
Ex collection Pierre Mondoloni, France, acquired from the above

Hook figure ex collection Van Lier 56 cm / Galerie Flak Price: on request
Hook figures from the Sepik region were functional, domestic objects. They were suspended from the rafters of the house, and were designed to keep netted fiber bags containing food, sago cakes and smoked fish, assorted valuables (and occasionally even sleeping babies!) out of harm's way.
Each hook was carved in the form of a specific named ancestor or spirit being.
As Christian Coiffier & Douglas Newton noted in "Sculpture from the Sepik River region": « the swinging of the hook from the roof beam expresses the continuity of life, like a metronome marking time ».
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Animal figure

North America | Alaska

Animal figure

Alaska

Shamanic amulet depicting a wolverine
Ipiutaq culture, Ancient Eskimo

First millenium AD
Walrus tooth
Length: 7.2 cm – 3 in.

Provenance
Excavated from the permafrost in Deering, Alaska
Ex collection Jeffrey Myers, New York
Ex private collection, France

Ipiutaq Animal figure 7.2 cm / Galerie Flak Price on request
The art of archaic Ipiutaq culture in Alaska is distinguished by an extraordinary bestiary with striking shamanic and skeletal motifs. The style observed in certain Ipiutaq sculptures suggests possible Sino-Siberian influence, with noticeable reminiscences of Anyang art, a Bronze Age archaeological culture in China associated with the late Shang Dynasty.
Upon crossing the Bering Strait from Siberia, it is believed that archaic Eskimo populations settled around Point Hope on the northwest coast of Alaska, coinciding with the emergence of the Old Bering Sea culture on the shores of Siberia and St. Lawrence Island.

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Calumet

North America | USA

Calumet

USA

Large calumet
Santee Sioux
Plains, USA

19th century, before 1860
Pipestem: Carved wood, pigments, leather and quill
Pipebowl: Carved stone (catlinite)
Length: 93 cm (103 cm with the bowl)

Provenance
Ex collection Ted Trotta, Shrub Oak, New York
Ex collection Jim Ritchie, Toledo, Ohio
Ex collection Paul Gray, Old Chatham, New York
Ex collection John W. Painter acquired from the above in 2002
Ex Sotheby’s New York, 18 May 2007, lot 117
Ex collection Trotta Bono Gallery, New York
Ex private collection, France, acquired from the above in 2009

Literature
“American Indian Art Magazine”,
American Indian Art Magazine, issue 27, Summer 2002, inside front cover
A Window On The Past – Volume Two, John W. Painter, 2003, pages 30-31, ill. 87

An important Santee Sioux Calumet Pipe 93 cm / Galerie Flak Price on request
Among the Plains Indians, the most sacred object was the calumet pipe. Calumets were used in times of war and times of peace to ensure protection and success.
Smoking was a means of creating harmony with the spiritual elements, with the smoke symbolizing prayer, a gift or a request for assistance from the Great Spirit.
"Before talking of holy things, we prepare ourselves by offerings. One will fill his pipe and hand it to the other who will light it and offer it to the sky and earth. They will smoke together. Then they will be ready to talk."
Mato-Kuwapi (Chased by Bears), a Santee-Yanktoni, Sioux warrior.
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Kachina doll

Archives | New Mexico

Kachina doll

New Mexico

Salimopia Katsina – Red warrior Kachina doll
Zuni

Mid 20th century
Carved wood, pigments, fabric, wool and feathers
Height: 7 ½ in. – 19 cm

Provenance
Field collected by Serge Holtz in the 1960s-1970s
Ex collection Hervé Poulain, Paris

Sold
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.

This Zuni doll is a representation of Salimopia (Salimboya / Salimopaiya), the Zuni Warrior. Salimopia is one of the Chief Kachinas of the Zunis. He functions as guards around the more sacred kachinas.
There are six different types of Salimopia kachinas, one for each of the Zuni cardinal points, depending on the mains colors of their costumes.
During the ceremonies, Salimopia dancers came barefoot with evergreen foliage about their ankles and crow feathers around their necks. Their action was very fast, dashing from one point to another. For this reason the individuals who impersonated these kachinas were always the very young men.
The main attribute of the dancer was a branch of yucca, used to strike the young initiates. Salimopia appeared during night dances that notably took place in the kiva.

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Snow goggles

North America | Alaska

Snow goggles

Alaska

Igauget snow goggles
Inupiaq or Yup’ik Eskimo

19th century
Carved wood, sinew
Length: 5 in. – 12.5 cm

Provenance
Ex private collection, Alaska
Ex collection Hugo Bregeau, Paris

Igauget snow goggles 12.5 cm / Galerie Flak Price on request
These goggles called Igauget in the dialects of Alaska, were carved so as to echo as closely as possible the shape of the face, and minimize luminosity to a maximum – hence the narrowness of the openings for the eyes. The width of these openings had a direct influence on the wearer’s visual field. According to the Inuit, the more the visual field was reduced, the more visual acuity was accentuated.
Goggles with slits of different sizes were chosen to match climatic conditions (in particular according to the incidence and intensity of the sun’s rays as they varied with the seasons over the course of the year).
Around the beginning of March the returning sun begins to produce a glare on the snow covered Arctic landscape especially north of the tree line. By late April the country acts like a giant mirror reflecting ever more direct bright light.
The goggles varied according to the locality in which they were made and could be carved of wood, often driftwood collected on the shoreline, or whalebone or from the tusk of a walrus.
As noted by Bill Wolf, the harsh Arctic climate presented some unique impediments to the Eskimo hunter. The high latitude left the sun low on the horizon through much of the year, and the resulting glare was compounded by the highly reflective snow or water that covered the area. Without protection, a hunter’s eyes were left vulnerable to a painful and often serious condition known as snow blindness, similar to a sunburn. Ivory or wood snow goggles alleviated this effect by allowing the wearer to peer through narrow openings, while shading him from the excessive glare. Additionally, they afforded protection from wind, sleet, etc. while traveling.

In this artifact, an ingenious utilitarian object is elevated to the level of a work of fine art. These goggles have been exquisitely sculpted to fit the contours of the hunter’s face. The economy of line is remarkable.

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Luluwa Figure

Africa | Democratic Republic of the Congo

Luluwa Figure

Democratic Republic of the Congo

Early 20th century
Carved wood and pigments
Height: 17 cm – 6 ½ in.

Provenance
Ex collection Karel Timmermans, field-collected between 1962 and 1965
Ex Sotheby’s, Paris, 5 dec. 2006, lot 125
Ex collection Laure-Marie et Daniel P. Biebuyck, USA
By descent

Luluwa figure 17 cm / Galerie Flak Price on request
With its refined naturalism, harmonious proportions and intricate scarification patterns, this miniature sculpture epitomizes the essence of the Luluwa concept of beauty.
Luluwa figures embody ancestral spirits, bestowing upon their devotees protection, good fortune, and beauty.
Constantine Petridis notes in Context en morfologie van de plastische kunst bij de Luluwa (Zuid-Centraal Zaire)", Ghent University, 1997 that “the special attention paid to beauty [...] is called Chiluba bwimpe which recognizes physical perfection as a sign of moral integrity, thus combining Western notions of beauty and goodness. The emphasis was on cultural or "human" beauty, that is, man-made beauty. Scarification was one of the fundamental expressions of this ideal. [...]
The notion of beauty/goodness is illustrated by the depiction of the anatomy, scarifications, and other forms of body embellishment. Thus, large heads and high foreheads were considered as a sign of beauty. Idealized beauty was also an invitation for ancestral spirits to come and incarnate in sculptures and use them as intermediaries between the natural and supernatural worlds."
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Luluwa Figure

Africa | Democratic Republic of the Congo

Luluwa Figure

Democratic Republic of the Congo

Early 20th century
Carved wood and pigments
Height: 13.5 cm – 5 ¼ in.

Provenance
Ex collection Karel Timmermans, field-collected between 1962 and 1965
Ex Sotheby’s, Paris, 5 dec. 2006, lot 125
Ex collection Laure-Marie et Daniel P. Biebuyck, USA
By descent

Luluwa figure 13.5 cm / Galerie Flak Price on request
With its refined naturalism, harmonious proportions and intricate scarification patterns, this miniature sculpture epitomizes the essence of the Luluwa concept of beauty.
Luluwa figures embody ancestral spirits, bestowing upon their devotees protection, good fortune, and beauty.
Constantine Petridis notes in Context en morfologie van de plastische kunst bij de Luluwa (Zuid-Centraal Zaire)", Ghent University, 1997 that “the special attention paid to beauty [...] is called Chiluba bwimpe which recognizes physical perfection as a sign of moral integrity, thus combining Western notions of beauty and goodness. The emphasis was on cultural or "human" beauty, that is, man-made beauty. Scarification was one of the fundamental expressions of this ideal. [...]
The notion of beauty/goodness is illustrated by the depiction of the anatomy, scarifications, and other forms of body embellishment. Thus, large heads and high foreheads were considered as a sign of beauty. Idealized beauty was also an invitation for ancestral spirits to come and incarnate in sculptures and use them as intermediaries between the natural and supernatural worlds."
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PARIS TRIBAL 2024

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PARIS TRIBAL 2024

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