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In the Arctic…
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In the Arctic…
Julien Flak
Artview Space
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Artview Space
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Paris Tribal 2020
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Paris Tribal 2020
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Kota Obamba Figure
Archives | Gabon
Kota Obamba Figure
Gabon
Mbulu-Ngulu reliquary figure
Carved wood and copper
Early 20th century or earlier
Height: 20 ¾ in. (53 cm)
Provenance:
Ex private collection, acquired in the 1950s
By descent
Ex Christie’s Paris, Arts d’Afrique et d’Océanie, June 11th 2012
Ex collection Daniel Hourdé, Paris
Ex Galerie Ratton, Paris
Ex private collection, Paris acquired from the above in 2017
Publication / Exhibition:
“Gabon”, Galerie Philippe Ratton, June-Sept. 2017 p. 40-41
sold
Ancestor worship formed the core of the religious and social life of the Kota peoples of Gabon. As stated by Louis Perrois who studied this artwork in 2012, these majestic figures called mbulu-ngulu were attached to reliquary baskets containing magical « medicines » and relics of important ancestors. The applied décor made of copper sheets or strips was meant to add power and prestige to the reliquary figure. Metal was indeed associated with longevity and power.
According to Efraim Andersson’s Kota informers (Contribution à l'ethnographie des Kuta, 1953-1974), figures with concave-convex faces and domed foreheads, such as the present example, are male representations.
Of an impressive style and sculptural presence, this Kota Obamba figure is a masterpiece of classical African Art.
According to Efraim Andersson’s Kota informers (Contribution à l'ethnographie des Kuta, 1953-1974), figures with concave-convex faces and domed foreheads, such as the present example, are male representations.
Of an impressive style and sculptural presence, this Kota Obamba figure is a masterpiece of classical African Art.
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Thule Figure
North America | Alaska
Thule Figure
Alaska
Thule Culture – Ancient Eskimo
Prior to the 18th century
Carved walrus tooth
Height: 3 ¼ in. (8.5 cm)
Provenance
Ex collection Donald Ellis Gallery
Ellis Thule Figure 8.5 cm / Galerie Flak
Price: on request
According to Fitzhugh et Kaplan (Inua: Spirit World of the Bering Sea Eskimo, 1982 : 156), these carved figurines were carved for several purposes: to stand in for people absent from the village during festivals, to avert infertility, or else to focus the attention of animal inua (spirit) during the Doll Festival, which was held to bless hunting and fishing expeditions in the coming year.
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North America
Hemba Figure
Archives | Democratic Republic of the Congo
Hemba Figure
Democratic Republic of the Congo
Singiti Ancestor figure
Muhona / Nkuvu Style
Carved wood
Early 20th century
height: 27 ¼ in. (69 cm)
Provenance:
Ex collection Hendrik Elias (1925-2014)
Ex Galerie Elmar, Wieze, Belgium, circa 1975
Ex collection Jacky de Maeyer, Antwerp, Belgium
Ex collection Adrian Schlag, Brussels, Belgium
Publication:
“Hendrik Elias’ Legacy Archives” by Jo De Buck, 2018, page 12 & fig. 7 page 30
African Heritage Documentation & Research Centre Archive : 0153329
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As stated by François Neyt in La grande statuaire Hemba du Zaïre, Hemba ancestor effigies were carved to honor the legacy of important chiefs. The concept of lineage protection and survival played a central role in Hemba beliefs. « The Hemba clans, relatively independent of each other, had their own history. Their family trees dating back to eight, ten or even fifteen generations were perfectly known, and were essential in particular to justify ownership of the land ». These commemorative portraits of chiefs were genealogy markers. They also served as protectors of the clan.
The Metropolitan Museum of Art in New York notes that Hemba artists emphasized two bodily passages of such representations – the head as the site of one’s intellect where knowledge is taken in through the eyes and the stomach where the umbilicus is the point of connection with one’s extended lineage. A Hemba chief inherited a series of such works that were housed in a dedicated structure centrally located in the community adjacent to his residence.
The ancestor figure presented here originates from the northern Hemba region, close to the Kusu and Bassikasingo. The Cubist stylization of the features is a notable Bassikasingo influence.
The composition of the figure combines power and harmony. The coiffure with four braids is a distinctive feature of sculptures from a limited corpus collected in the Luama river area. The best known examples are the Hemba-Kusu figure from the musée du quai Branly-Jacques Chirac, formerly in the collection of Jacques Kerchache or the more naturalistic figure acquired by the Metropolitan Museum of Art in New York in 2015.
The Metropolitan Museum of Art in New York notes that Hemba artists emphasized two bodily passages of such representations – the head as the site of one’s intellect where knowledge is taken in through the eyes and the stomach where the umbilicus is the point of connection with one’s extended lineage. A Hemba chief inherited a series of such works that were housed in a dedicated structure centrally located in the community adjacent to his residence.
The ancestor figure presented here originates from the northern Hemba region, close to the Kusu and Bassikasingo. The Cubist stylization of the features is a notable Bassikasingo influence.
The composition of the figure combines power and harmony. The coiffure with four braids is a distinctive feature of sculptures from a limited corpus collected in the Luama river area. The best known examples are the Hemba-Kusu figure from the musée du quai Branly-Jacques Chirac, formerly in the collection of Jacques Kerchache or the more naturalistic figure acquired by the Metropolitan Museum of Art in New York in 2015.
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Kachina Doll
Archives | Arizona
Kachina Doll
Arizona
Hopi
Ka’e Katsina – Corn Kachina doll
Carved wood (cottonwood) and natural pigments
Circa 1920-1930
Height: 9 ½ in. (24.5 cm)
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.
Ka-ë, a member of the Flower Kachinas (Tusak Katsinam), is one of the many forms of Corn Kachinas. Ka-ë Kachina dancers are most popular for their singing and performances. Appearing in almost all Kachina dances, the Corn dancers invoke the elements to ensure bountiful harvests.
Ka-ë, a member of the Flower Kachinas (Tusak Katsinam), is one of the many forms of Corn Kachinas. Ka-ë Kachina dancers are most popular for their singing and performances. Appearing in almost all Kachina dances, the Corn dancers invoke the elements to ensure bountiful harvests.
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Kachina Doll
Archives | Arizona
Kachina Doll
Arizona
Hopi
Talavai Katsina – Morning Singer Kachina doll
Carved wood (cottonwood) and natural pigments
Circa 1900-1910
Height: 9 in. (23 cm)
Ex private collection, USA
Talavai Kachina dol 23 cm / Galerie Flak
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This doll represents Talavai Katsina (Morning Singer). Telavai or Talavai means dawn in Hopi language.
According to Jesse Walter Fewkes, this Kachina appeared on the morning of the last day of the ceremonial cycle called Powamu (Bean Dance). Masked Talavai dancers appeared in pairs at sunrise on the roofs of adobe houses and sang to awaken the village. They gave offerings of bean sprouts to all the villagers.
The arrival of Talavai was a prayer for rain (hence the symbol of the clouds on the cheeks).
Our doll has superb colors and cloud motifs on the face and on the back of the mask.
According to Jesse Walter Fewkes, this Kachina appeared on the morning of the last day of the ceremonial cycle called Powamu (Bean Dance). Masked Talavai dancers appeared in pairs at sunrise on the roofs of adobe houses and sang to awaken the village. They gave offerings of bean sprouts to all the villagers.
The arrival of Talavai was a prayer for rain (hence the symbol of the clouds on the cheeks).
Our doll has superb colors and cloud motifs on the face and on the back of the mask.
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Katsina Doll
Archives | Arizona
Katsina Doll
Arizona
Qoi’a Katsina – Ancient Navajo Katsina doll
Hopi
Circa 1900
Carved wood (cottonwood), pigments, fiber
Height: 8 in. – 20.5 cm
Provenance
Ex private collection, UK
Sold
Katsina dolls (or kachina) represent spirits or gods from the pantheon of the Pueblo peoples in the American Southwest. Given to children, Katsina 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.
The figure depicted here is Qoi'a, who represents the Ancient Navajo and sings in the Navajo (Diné) language during his ritual appearances. Qoi'a was gradually replaced from the 1920s onwards by Tasap, who plays a similar role. Katsina dances featuring Navajo spirits are common on all mesas. The Hopi believe that honoring these spirits during the ceremonies will grant them some of the warrior power of their neighbors.
This sculpture is a "flat-type" Katsina doll, an archaic Hopi carving style characterized by stylized and minimalist figures with painted arms that are an integral part of the trunk and legs that are not clearly defined. In the second half of the 19th century, dolls with lower limbs carved in high relief and separate arms emerged as the canonical Katsina style. Although flat-type dolls continued to be carved, they became increasingly rare. Some literature refers to flat-type Katsinam as "cradle dolls," but it seems that those with a separation between the head and body volumes and a tableta do not differ from the "canonical" Katsinam carved in the round.
The figure depicted here is Qoi'a, who represents the Ancient Navajo and sings in the Navajo (Diné) language during his ritual appearances. Qoi'a was gradually replaced from the 1920s onwards by Tasap, who plays a similar role. Katsina dances featuring Navajo spirits are common on all mesas. The Hopi believe that honoring these spirits during the ceremonies will grant them some of the warrior power of their neighbors.
This sculpture is a "flat-type" Katsina doll, an archaic Hopi carving style characterized by stylized and minimalist figures with painted arms that are an integral part of the trunk and legs that are not clearly defined. In the second half of the 19th century, dolls with lower limbs carved in high relief and separate arms emerged as the canonical Katsina style. Although flat-type dolls continued to be carved, they became increasingly rare. Some literature refers to flat-type Katsinam as "cradle dolls," but it seems that those with a separation between the head and body volumes and a tableta do not differ from the "canonical" Katsinam carved in the round.
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Yup’ik Mask
Archives | Alaska
Yup’ik Mask
Alaska
Yup’ik finger mask (Eskimo)
Wood, bear fur, natural pigments
Late 19th century, c.1880
Height : 4 ½ in. (11.5 cm)
Collected by John Edward Turner (Alaska Coastal Airlines)
Ex private collection, New York
Ex collection Jean-Paul Morin, France
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This is a rare shamanic maskette with an anthropomorphic face carved from floating wood (probably cedar). The circular face is painted with red pigments rimmed with yellow
It depicts the "inua" (spirit) and was used during ritual shamanic ceremonies.
The Subarctic region inhabited by the Yup'ik is well supplied with land and sea resources allowing for much time that could be devoted to a full ceremonial life. After freezeup in the winter, performance cycles were undertaken that were important to maintaining proper human, animal, and spirit-world interactions. Performed inside the qasaiq (communal men's house) during festivals, dances feature face and finger masks that make visible the world of helping spirits and extraordinary beings, and are specially made to tell particular stories. Often used by shamans to facilitate communication and movement between worlds (human and animal, the living and the dead), Yup'ik masks usually were discarded after use.
Finger masks were used to further articulate the important hand movements.
The style and patina attest to the age and ritual nature of this finger mask that we can date back to the late 19th century, probably circa 1880. It was collected in Alaska by John Edward Turner (Alaska Coastal Airlines).
It depicts the "inua" (spirit) and was used during ritual shamanic ceremonies.
The Subarctic region inhabited by the Yup'ik is well supplied with land and sea resources allowing for much time that could be devoted to a full ceremonial life. After freezeup in the winter, performance cycles were undertaken that were important to maintaining proper human, animal, and spirit-world interactions. Performed inside the qasaiq (communal men's house) during festivals, dances feature face and finger masks that make visible the world of helping spirits and extraordinary beings, and are specially made to tell particular stories. Often used by shamans to facilitate communication and movement between worlds (human and animal, the living and the dead), Yup'ik masks usually were discarded after use.
Finger masks were used to further articulate the important hand movements.
The style and patina attest to the age and ritual nature of this finger mask that we can date back to the late 19th century, probably circa 1880. It was collected in Alaska by John Edward Turner (Alaska Coastal Airlines).
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