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Parcours des Mondes 2024
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Parcours des Mondes 2024
art tribal
Katsina doll
Archives | Arizona
Katsina doll
Arizona
Patung Katsina – Squash katsina doll
Hopi
Carved wood, pigments, dried gourd
Circa 1960s-1970s
Height: 42 cm – 16 ½ in.
Provenance
Ex collection Jockey Billy Pearson (1920-2002), acquired in the 1980s
Thence by descent in the Pearson family
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Katsina dolls (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.
Patung (Squash) is one of the Runner Katsinam from the First Mesa. Plants are of great importance to the Hopi, whose food resources are scarce. As such, many Katsinam in the pantheon refer to plants.
Patung has inspired many artists of the 20th century, most notably Marc Chagall. In 1945 in New York, Chagall and his daughter Ida created three sets, a curtain, and over eighty costumes for Igor Stravinsky's ballet The Firebird. Several of these costumes were inspired by those of Katsina dancers, as can be seen in Chagall's preparatory drawing Green Monster with Black Stripes (reproduced above), which closely resembles the Patung Katsina.
In 2018 at the Tate Gallery in London, contemporary artist Anthea Hamilton presented an installation - performance featuring dancers wearing Katsinam-inspired costumes. Hamilton based her work on a choreography by Erick Hawkins from the 1960s, which also featured a Squash character.
Patung (Squash) is one of the Runner Katsinam from the First Mesa. Plants are of great importance to the Hopi, whose food resources are scarce. As such, many Katsinam in the pantheon refer to plants.
Patung has inspired many artists of the 20th century, most notably Marc Chagall. In 1945 in New York, Chagall and his daughter Ida created three sets, a curtain, and over eighty costumes for Igor Stravinsky's ballet The Firebird. Several of these costumes were inspired by those of Katsina dancers, as can be seen in Chagall's preparatory drawing Green Monster with Black Stripes (reproduced above), which closely resembles the Patung Katsina.
In 2018 at the Tate Gallery in London, contemporary artist Anthea Hamilton presented an installation - performance featuring dancers wearing Katsinam-inspired costumes. Hamilton based her work on a choreography by Erick Hawkins from the 1960s, which also featured a Squash character.
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Comb
North America | Alaska
Comb
Alaska
Comb with two animal heads
Thule culture – Ancient Eskimo
1200– 1700 AD
Marine Ivory
Height: 6.5 cm – 2 ½ in.
Provenance
Ex collection Anthony JP Meyer, Paris
Ex collection Guy Porré & Nathalie Chaboche, acquired from the above
Zoomorphic Comb Thule 6.5 cm / Galerie Flak / Galerie Flak
Price on request
In the Arctic, it was believed that decorated objects, through their beauty, attracted the prey and at the same time paid tribute to its spirit. As noted by the Princeton University Art Museum (see “Art of the Hunt”) the beautifully balanced and elegantly (…) functional tools (…) were incised with spirit images and designs that honored the animals the hunters sought.
This carving was first a utilitarian artefact: the comb was notably used in the preparation of bear fur and skins, as well as head ornament.
This ingenious utilitarian object is here elevated to the level of a work of fine art and takes on an eminently shamanic character.
This carving was first a utilitarian artefact: the comb was notably used in the preparation of bear fur and skins, as well as head ornament.
This ingenious utilitarian object is here elevated to the level of a work of fine art and takes on an eminently shamanic character.
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North America
Pop-Up Gallery
Aix-en-Provence
Archives
Pop-Up Gallery
Aix-en-Provence
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Kayak model
Archives | Greenland
Kayak model
Greenland
Kayak Model
Inuit culture
Early to mid 20th century
Carved wood, hide and marine ivory
Length: 54 cm – 21 ¼ in.
Provenance
Ex private collection, Paris
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Archaeology in the Far North has provided evidence that kayaks date back at least 2,000 years. These hunting and fishing vessels were used to stealthily approach seals, walruses, and whales. In rivers and lakes, kayaks also allowed hunters to approach caribou migrating in the middle of the current. Additionally, they were used for fishing and transporting passengers and goods.
Kayaks occupy a prominent place in the life of the Arctic peoples. According to Frank Andrew, "kayaks were crucial for survival at that time. They were used for hunting but also for gathering food. They had multiple uses." Nevertheless, the primary function of these kayaks was hunting and transportation, enabling access to various food sources along the coasts.
Kayaks were not seen as mere utilitarian objects. Each kayak was made to the dimensions of its owner and decorated with family motifs. The kayak was considered like a living entity, with the frame likened to a skeleton and the surface (seal skin) to skin. The kayak and the hunter were connected in both life and death. No man could marry until he had brought back a seal from his hunt, thus proving his qualities as a good hunter.
When the hunter died, his kayak was placed on his grave, signifying the everlasting connection between the two.
Kayaks occupy a prominent place in the life of the Arctic peoples. According to Frank Andrew, "kayaks were crucial for survival at that time. They were used for hunting but also for gathering food. They had multiple uses." Nevertheless, the primary function of these kayaks was hunting and transportation, enabling access to various food sources along the coasts.
Kayaks were not seen as mere utilitarian objects. Each kayak was made to the dimensions of its owner and decorated with family motifs. The kayak was considered like a living entity, with the frame likened to a skeleton and the surface (seal skin) to skin. The kayak and the hunter were connected in both life and death. No man could marry until he had brought back a seal from his hunt, thus proving his qualities as a good hunter.
When the hunter died, his kayak was placed on his grave, signifying the everlasting connection between the two.
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Katsina doll
Archives | New Mexico
Katsina doll
New Mexico
Shalako Katsina doll
Zuni
Carved wood, pigments, fabric, wool
Circa 1940-1950
Height : 32 cm – 12 ½ in.
Provenance
Ex collection Galerie Flak, Paris
Ex private collection, Paris
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This carved figure depicts Shalako, one of the most important Kachina (Katsina) spirits in the Zuni pantheon.
The Zuni ceremonial cycle is centered around planting and harvesting. It culminates in early December with the entrance of the Shalakos, or Couriers of the Gods, in tall, feathered costumes topped by headdresses. All day and night Shalakos enter homes dancing and chanting, and receive bountiful amounts of food from each host.
As noted by Barton Wright in “Esprit Kachina”, 2003, six Shalakos can come during the winter ceremony. They are nearly ten feet tall and their arrival is announced by the Little Fire God, Shulawitsi. They dance in houses that are newly constructed or renovated conferring their blessings on the place.
When the Shalakos leave the village, it signals the end of one cycle and the renewal of another.
The Zuni ceremonial cycle is centered around planting and harvesting. It culminates in early December with the entrance of the Shalakos, or Couriers of the Gods, in tall, feathered costumes topped by headdresses. All day and night Shalakos enter homes dancing and chanting, and receive bountiful amounts of food from each host.
As noted by Barton Wright in “Esprit Kachina”, 2003, six Shalakos can come during the winter ceremony. They are nearly ten feet tall and their arrival is announced by the Little Fire God, Shulawitsi. They dance in houses that are newly constructed or renovated conferring their blessings on the place.
When the Shalakos leave the village, it signals the end of one cycle and the renewal of another.
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Ibeji
Africa | Nigeria
Ibeji
Nigeria
Ere Ibeji twin figures
Yoruba, Omu Aran style
Igbomina area, Nigeria
Early 20th century
Carved wood, pigments, fabric and leather, cowries
Height: 29 cm
Provenance
Ex private collection, The Netherlands
Ex collection Pierre Dartevelle, Brussels
Ex private collection, Paris
Exhibited
BRAFA Art Fair, Galerie Dartevelle, Brussels 2017
Ibeji with coat 29 cm / Galerie Flak
Price on request
The statuettes linked to twin worship, are called ere ibeji in the Yoruba language: ere signifying a sacred image, ibi born and eji a double. Symbols of prestige, wealth and fecundity, ere ibeji figures also guaranteed the perpetuation of future generations. These effigies of ancestors were an integral part of everyday activities, punctuating the family life of the Yoruba.
Subject to very codified rituals, ere ibeji figures were pampered, with their care including feeding, washing and oiling.
They were considered to be living beings. Representations always showed them at the peak of their strength and power in adulthood.
Subject to very codified rituals, ere ibeji figures were pampered, with their care including feeding, washing and oiling.
They were considered to be living beings. Representations always showed them at the peak of their strength and power in adulthood.
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Africa
Malagan dance ornament
Archives | 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
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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).
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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
Private collection, Australia
Private collection, Singapore
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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oceania
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.
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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North America
