Traditional, tribal African antique art: journal/magazine issues, announcements & catalogs/catalogues of auctions, exhibitions, fairs/foires, open days...
published in the year 2013

(see other page for books)

Tribal Art
Spring 2013


Tribal Art
Summer 2013


available from the publisher 20 Euro


Tribal Art
Autumn 2013


available from the publisher 20 Euro
available new from for 8 Euro


Tribal Art
Winter 2013


available from the publisher 20 Euro
available new from for 8 Euro


Kunst & Kontext -- Aussereuropäische Kunst & Kultur im Dialog -- Museum - Sammler - Universität - Händler
No. 5
80 pp.

available from  for 2 Euro


Kunst & Kontext -- Aussereuropäische Kunst & Kultur im Dialog -- Museum - Sammler - Universität - Händler
No. 6
80 pp.

available from  for 2 Euro


Tribal Art Society
Catalog 2013-04

Tribal Art Society
Catalog 2013-07

Tribal Art Society
Catalog 2013-09

Tribal Art Society
Catalog 2013-11


Wintersablon 3
16-20 01 2013
96 pp.
Dogon, Bembe, Mossi, Tshoga, Guro, Ibibio, Yombe, Luba, Kuba, Kota, Baule, Senufo, Sepik, Bamileke Namdji, Pende, Yoruba

sold on Ebay in 2013  6 Euro
available like new from for 3 Euro


Mossi dolls

available like new from for 15 Euro



sold on Ebay in 2013  16 Euro


Objects of Belief



*sold in 2014 for 3 Euro
Pierre Berge & Associes
Mercredi 13 février 2013 à 14h00
Paris - Drouot Richelieu - salle 4
Art océanien, Indien et Africain
57 pp.
Renaud Vanuxem Tél.: +33 (0)1 43 26 03 04 Du lot 1 au lot 126
Didier Claes Tél.: +32 (0)2 414 19 29 Du lot 127 au lot 166
Patrick Mestdagh Tél.: +32 (0)2 511 10 27

includes African knives, Mangbetu

sold on Ebay in 2013  5, 9, 13 Euro
available on Ebay in 2013  9 Euro



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Vendredi 01 mars
Lwalwa mask


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Maîtres Perrine BELLIER et Nicolas FIERFORT
dimanche 17 février 2013 Evreux Enchères, EVREUX, à 14h30


Edited by Gary Van Wyk
QCC Art Gallery Press
342 pp.
ISBN 978-1-936658-14-5

The accompanying publication, edited by Dr. Gary van Wyk, includes contributions by 10 leading scholars of Tanzanian art from the United States, Tanzania, South Africa, and Germany, who draw on fresh research. The 342-page book is lavishly illustrated with the art works on exhibition and in other collections, along with both archival images and contemporary photographs of art practices. It includes a comprehensive index and bibliography, and promises to be an indispensable contribution to the field of African Art.

February 22 – May 17, 2013 QCC Art Gallery, 222-05 56th Avenue, Oakland Gardens, NY 11364 official site:

This groundbreaking exhibition and book on Tanzanian art, curated by art historian Dr. Gary van Wyk, is the first—outside of Germany and Tanzania itself—to focus on the neglected art traditions of Tanzania. Among the 160 art works on display at QCC Art Gallery, which is located the Queens borough of New York City, are Tanzanian masterpieces now regarded as German national treasures, alongside virtually unknown art works from museums formerly behind the Iron Curtain. The objects come from eight museum collections in Europe and the United States, QCC Art Gallery’s own acclaimed collection, and more than twenty private collections in Europe, the US, and Africa.

Dr. Van Wyk has edited a beautifully illustrated 342-page publication to accompany the show. Leading scholars of Tanzanian art discuss every exhibit, as well as many additional Tanzanian art objects, all of which are illustrated in color—mostly for the first time. The book is currently only available at the Gallery and from its online store, at this link: Dr. Van Wyk also produced four short films (48 minutes in total) for the exhibition, which show art and ceremony in action today, and he has published many related fieldwork images in the book. These ensure that the project not only illuminates past history, but also shows how Tanzanian art practices continue today.

In the Swahili language spoken in Tanzania, the root word shangaa expresses concepts of awe and amazement that are associated with spiritual power and the impressive art works showcased in this exhibit. Structured thematically, the exhibition highlights how Tanzanian art is used to channel healing, embody authority, mark initiation into adulthood, address the spirits, and celebrate life and competition.

“Tanzania is remarkably diverse,” says QCC Art Gallery director Dr. Faustino Quintanilla, “With more than 120 languages spoken—similar to our institution and surrounding community.” A section of the exhibition highlights cross-cultural interactions throughout Tanzanian history. The exhibition will travel to the Portland Museum of Art, Maine (June 8-August 25, 2013). Shangaa: Art of Tanzania was organized by QCC Art Gallery of the City University of New York (CUNY), curated by Dr. Gary van Wyk, and supported in part by an award from the National Endowment for the Arts’ Art Works.

Interview with Ingo Barlovic, published in German in Kunst & Kontext. Dear Gary, you are curating Shangaa, an exhibition about Tanzanian art which takes place in the QCC Art Gallery in Bayside, NY. My first question is of course: Why Tanzania? And why the art of Tanzania in the United States?

In my career as an African Art Historian I have focused on regions, topics, and mediums that have been ignored or excluded, including Southern Africa, mural paintings, women's beadwork. Southern Africa and East Africa were beyond the sphere of Francophone influence that created the stereotypes of African art and spread the self-serving misconception that these regions lacked art. In Germany and parts of the former Austro-Hungarian empire, however, Tanzanian art was known. Jens Jahn organized a survey exhibition and book on Tanzanian art in Germany in 1994, but that book had limited reach in the English-speaking world because it is in German and Swahili. During the twenty years since the publication of that book, professional African Art Historians have advanced the study of Tanzanian art. I wanted to present these fresh perspectives—in English—and carry the history right through to forms of masquerade and sculpture being danced and produced today, to show that these are living arts and cultures, continually engaging with a changing present.

And what is your personal interest in this art?

Apart from being an art historian, I am also trained as an artist, and I have always responded to Expressionism, so the bold expressiveness of some Tanzanian sculpture appealed to me. The title of the exhibition, shangaa, is the Swahili root word for things that have a dramatic aesthetic impact: an astounding, amazing, awesome quality. The challenge of the unknown, however, and the challenge to demolish false impressions about Tanzanian art, also attract me.

Art from Tanzania is popular in Germany, because it has such a expressive character. In France or Belgium however they prefer an art which is more elegant, more aesthetic. How do the visitors in the USA react to the Tanzanian art?

The taste for African Art in the United States was determined by French and Belgian experience, so Americans have a similarly overdetermined perception of what constitutes African Art. America lacks the colonial adventurism of France and Belgium, but the Sultan of Zanzibar entered treaties with America decades before he formalized relations with France or Germany, and the trade in cloth, spices, and ivory—not to mention enslaved people—linked the two countries. Like the United States, Tanzania is a cultural melting pot, with more than 120 languages spoken, but living together in peace. The blood of enslaved peoples from East Africa runs in American veins and, indeed, Tanzania is a birthplace of humankind, so we might all link back to Tanzania.

And how much interest is there in public, e.g. in the press.

There has already been considerable coverage among the press and broadcasters, and we expect there will be more. However, the book is what will survive the exhibition—and all of us.

How would you describe the concept which is behind the exhibition. Which story do you want to tell?

The concept of the show—or my curatorial intention—is more complex than it might seem. I have used the idea of "shangaa"—the reaction of "awesome" that exciting art can produce—as an entry point for a general audience, but my intention is to unsettle certain stereotypes and misconceptions about African Art. For example, I have combined nineteenth-century animal masks, which are now German national treasures, with animal masks invented as recently as the 1990s by known artists, and I have included in the exhibition films of those recent masks being performed in context. This shows that the process of invention of masks—their ability to "speak" to recent events—continues today. African Art is NOT about dead cultures that were damaged or destroyed by contact and contamination with Europeans. African Art forms developed in complex environments that included cross-cultural contact—often long before Europeans arrived in Africa—and art continues to be created in Tanzania today.

I combine "high" and "low": I show everyday utilitarian objects and royal regalia—but the regalia is often very simple while the everyday items can be precious. The Nyamwezi king Fundikira IV, who is the ceremonial leader of more than one million people, is included in a film on the exhibition demonstrating the ancestral objects he uses at annual fertility ceremonies and to make rain. They are simple objects: gourds, low stools, spears. One of the most sacred and symbolic objects from an African point of view, but worthless from a European perspective, was a disk with a spiral design and a hole at the center; cut from the end of a conus seashell, these discs were used to create chiefdoms, and they symbolized the passage through life on earth toward the spiritual world.

I dismantle false notions about the labeling and identification of "masterpieces" of Tanzania art. For example, I show that the so-called Nyamwezi "throne" from the Berlin Ethnological museum—a high-backed chair with a figure on the back—was collected at a tiny Kimbu settlement, did not belong to an important person, and was connected to the European caravan trade. On the other hand, I exhibit and publish virtually unknown historical works that I believe deserve recognition as masterpieces—such as a clay Chaga nungu figure that I borrowed from the Néprajzi Múzeum in Budapest, and a stunning figure collected among the Nyamwezi, which has been in the Herrnhuter Museum since around 1900. Also, many more recent works of exceptional aesthetic quality are presented, to help transform our idea of Tanzanian art.

I invite audiences to consider that much Tanzanian art is more like what we know as performance art than simply sculpture. I show how the geological landscape and soundscape—musical instruments, clapping, singing, and silence—are vital aspects of Tanzanian arts. This is also conveyed by films on the exhibition. And of course, all of this involves spirit and medicine, often medicines believed to be magical. Most of the twentieth-century figures were used in Sukuma dance competitions, often performed with live snakes and other wild animals, and fortified with magical medicines to help win the audience's vote and to frustrate competitors.

In Germany, there was the famous Jahn Tanzanian exhibition. How does your exhibition concept differ from this one.

Like Jens Jahn's exhibition, I draw from several German and Belgian collections, even including some of the same objets, but I have also gone behind the former Iron Curtain, and I draw from several American collections. Jens Jahn has been an enthusiastic and helpful supporter of my project, and ultimately our aims are similar: to promote recognition of this overlooked aspect of African art. I believe my approach is more historical in intention: I critically interrogate past accounts, integrate recent scholarship, and insist on bringing the picture right up to the present moment—for which the several films on exhibition are vital. I have contextualized the collection of museum objects in colonial times with sections on slavery and resistance. I include drawings made in 1906 by the employees of Karl Weule—one of the father's of German ethnography, a former director of the Leipzig museum, and the person who collected many of the treasures on display—which illustrate how Weule's expedition accompanied brutal strategies of violence, reprisal, and oppression. Finally, one of my concerns is to underscore the continual eruption of modernity and cross-cultural interaction; a section of sculptures that depicts "foreigners" emphasizes that Tanzanians have always been interacting across the cultural differences both among themselves and between them and foreigners from many parts of the world.

In early times, an exhibition about African art often gave a lot of information about the ethnological background. Nowadays, the focus often is on the art aspect. What about your exhibition?

I focus on both aesthetics and contextual meaning, but I have chosen only objects that I find beautiful or impressive: objects that have for me the shangaa effect. I selected several hundred objects as potential exhibits, and then I distilled this group with the input of my fellow art historians until we ended up with a final group of 160 superb and fascinating objects.

Which pieces are you showing? One of the things I have tried to do is place emphasis on the larger population groups in Tanzania: so Sukuma objects constitute the largest group. Objects range from tiny nose studs worn by Yao, Makua, and others on the Swahili coast, to larger-than-life-size Sukuma figures. The media range widely, too; from gold to paper, cotton to clay, glass to iron. The artists range from the King of Karagwe in the early 1800s to named artists still living.

Where do the pieces of the exhibition come from? I heard a lot of them came from Germany? Loans from German museums came from Staatliches Museum für Völkerkunde München; Ethnologische Museum, Berlin; GRASSI Museum zu Völkerkunde Leipzig and Museum für Völkerkunde Dresden, Staatliche Kunstsammlungen Dresden. Several objects were borrowed or illustrated from American museums, including the Virginia Museum of Fine Arts, the University of Iowa Museum of Art, the Art Institute of Chicago, and the Indianapolis Museum of Art. I also illustrated works from Canada's Royal Ontario Museum and the Museum für Völkerkunde, Vienna. I drew from private collections in Germany, Austria, Belgium, Tanzania, and the United States, including objects formerly in the collection of Walter Bareiss.

The pieces in your exhibition which did not come from Museums or from the QCC Art Gallery: Did you get some of them from dealers or from collectors only?

Mostly from private collectors, but I included dealers because often they are collectors, too, and in some cases have conducted on-the-ground research—such as Marc Felix who played a key role in the Jens Jahn Tanzania exhibition and book.

Do you have any favorites? Or are there pieces which really surprised you? Did you have some wow-feelings?

One of my favorites is a Makonde mask of a Maasai moran (warrior), whose exoticism is highlighted by the turquoise color it is painted. After I had selected this for the exhibition, I was delighted when the owner, Mr. Stewart J. Warkow, told me he would donate it to QCC Art Gallery, along with several other works of his on exhibition. One piece that surprised me was a figure from the University of Iowa Museum of Art, which turned out to be physically much smaller than I imagined—it also likely did not originate among the Nyamwezi to whom it has long been attributed, so this is a piece that possesses the shangaa effect in yet another sense of that word: it "dumbfounds." Exhibitions allow us to experience objects, whereas viewing pictures is an abstraction that can distill and distort their monumentality. The large Sukuma figures certainly have the wow factor. They also put into play powerful sexual dynamics: this speaks to our shared humanity and it's what makes the cycle of life move forward, also the passions of attraction, jealousy, competition.

The exhibition will be travel? The exhibition will travel to Portland Museum of Art in Maine, where it will be on view from June 8 through August 25.

What can you tell me about the catalog that accompanies the exhibition? The accompanying book is not intended as a catalog, although it illustrates all but one of the objects in the show. It includes many objects not on exhibition. It is 342 pages, lavishly illustrated in color throughout, and includes a comprehensive bibliography and index. As the editor, I wrote several sections based on my own field research in Tanzania in northern, central, and western Tanzania, provided much of the field photography, and developed maps of the peoples and trade routes. The book includes essays by scholars from Tanzania, South Africa, the United States, and Germany, most of whom hold PhD's in African Art History, and each of whom is specialized in a particular region of Tanzania. The contributors are Aimée Bessire, Giselher Blesse, Alexander Bortolot, Silvia Dolz, Mohamed Jaffer, Sandra Klopper, Fadhili Mshana, Rehema Nchimbi, Allen Roberts, and Barbara Thompson.

Art from Tanzania does not achieve the high prices in the market like the art of other African regions. What do you think is the reason for this? And will this exhibition help to change something?

I am sure this exhibition and book will help inform people about Tanzanian art, and I hope this will prompt a shift in the public perception of African Art—that is the change I am most interested in. Market prices reflect demand; what people don't know they don't want; as more people learn about Tanzanian art, this might stimulate some parts of the market. However, the stereotypes and prejudices of African Art are deeply entrenched, and today the markets for African art, contemporary art, and other collectibles are all being driven—and manipulated—by the same financial forces and motives. At the same time, the base of passionate collectors interested in the topic—as opposed to interested in the value—is shrinking.


One of the most attractive small museums in the city is at Queensborough Community College, a branch of the City University of New York. The bucolic Bayside campus was once a golf course, the museum a clubhouse, and the building still feels airy and welcoming, with two good-size galleries and a reference library open to all. Exhibition programming under the director, Faustino Quintanilla, has been consistently venturesome. The current show, “Shangaa: Art of Tanzania,” would do any museum anywhere proud.

As was true of most East African art, Tanzanian material was overlooked by 19th- and 20th-century collectors, who had their sights on other parts of the continent. And because so little art from Tanzania was in museums, the assumption grew that there was none worth having. One look at the tiny, disc-shaped Makonde mask that opens the show tells you otherwise. And it’s just the first of many treasures among the 150 objects assembled by the art historian Gary Van Wyk for the first significant exhibition of this art in the United States.

“Shangaa” is Swahili for “awesome,” and that’s what the lineup is. From a pair of seven-foot-tall Sukuma guardian figures, staring gravely down at whoever approaches; to a five-inch-long Chagga ceramic female form nestled, like an infant, in a banana-leaf cradle; to a row of beaded Tabwa masks from the museum’s permanent collection, this is a sensational array.

Mr. Van Wyk has set some of the work firmly within the context of colonialist history; in certain pieces, references to slavery and rebellion are overt. But he also presents the art as a vital element in Tanzania today, as demonstrated in the show’s several documentary films. Amazingly, given the nonmainstream status of the museum, the show also comes with a stupendous scholarly catalog, published by the college. While our big art institutions give us, too often, the obvious, our university and college museums give us the unknown. Long may they thrive.


PORTLAND, ME.- This summer, the Portland Museum of Art hosts the first exhibition of Tanzanian art in the United States. Shangaa: Art of Tanzania, on view at the PMA from June 8 through August 25, 2013, features 166 awe-inspiring objects. Organized by the QCC Art Gallery of the City University of New York (CUNY) and curated by scholar of African art Dr. Gary van Wyk, the exhibition brings together stunning objects from private collections and major German museums that have rarely been seen outside of Africa or Europe. “Audiences will be challenged, engaged, and inspired by the great Tanzanian cultural objects in Shangaa,” said PMA Director Mark H.C. Bessire. “For the first time in the United States, the great artistic traditions of Tanzania will be brought together to expand our knowledge of East Africa. The Portland Museum of Art is very proud to bring this crucial scholarly exploration of Tanzania to our community and museum members. I am also proud to be an advisor on this scholarly project as we follow our vision to present progressive exhibitions beyond our collection that address local and global issues.” In Swahili, the root word shangaa means to surprise, dumbfound, and amaze, and this exhibition demonstrates that Tanzania is a significant source of inspiring art. Spanning from the 19th century to the present day, with recent works created by celebrated artists for contemporary events, the objects underscore the vibrant, living traditions of art and culture in Tanzania. The objects range from masks and staffs to figural sculptures and thrones, demonstrating how Tanzanian cultures use art to channel energy to heal, embody authority, mark initiation into adulthood, address the spirits, and celebrate life and competition. This unique exhibition graces two floors of the museum and includes videos showing the cultural objects used in dances and as part of other traditions. The home of Mount Kilimanjaro, Zanzibar, Lake Victoria, and the Serengeti, Tanzania is a cultural crossroads in East Africa. It is a place where Arab, Indian, European, and American trade routes coincided centuries ago, and Muslim, Christian, and African traditions continue to intermix. At Lake Victoria, explorers reached the long-sought source of the Nile; and Mary Leakey and her team discovered the Laetoli Footprints at Oldupai Gorge. As Gary van Wyk has observed, “Tanzania is a hotbed for prehistory…a veritable cradle of humanity.” While art of other African regions has been studied and explored by scholars, the art of East Africa, under German rule for much of the 19th and 20th centuries, was long hidden behind the Iron Curtain, inaccessible in East German private collections and museums. The art of East Africa has thus been largely overlooked until now. This exhibition, as Gary van Wyk notes, “seeks to raise the awareness of a lesser recognized, but equally valuable source of traditional African Culture.”

available in 2013  95 $, from Vasco  150 Euro


“Strange but Somehow Beautiful” – Art of the Adan People of South-East Ghana.

Michael Yates, an avid collector of African tribal art, will be organizing the first ever exhibition devoted solely to carvings of the Adan people. The accompanying exhibition catalogue will elaborate individually on the approximately 200 carvings which will be on display.

The Adan are a small group of people who live in south-east Ghana. If there is one thing that characterises Adan figurative carving, then it is its diversity. In Michael Yate’s article “Strange but Somehow Beautiful” Art of the Adan People of south-east Ghana, he describes three basic types of figurative carvings. These are – figures having two arms and two legs, figures lacking one or more limbs, and figures carrying something on their heads. The figures can either represent ancestors or bush spirits and are connected to the West African religion of Voudun. In some cases Adan carvings can be very similar to some carvings made by their neighbours, the Ewe.

Michael Yates is a retired folklorist who has conducted field work in England, Scotland and the Appalachian Mountains of North America. He is the co-author of Dear Companion. Appalachian Traditional Songs and Singers from the Cecil Sharp Collection (London. 2004) and the author of Traveller’s Joy. Songs of English and Scottish Travellers and Gypsies 1965 – 2005 (London. 2006). He has also written numerous articles, papers and reviews on folksong, folklore and folktales, some of which can be found on His collection of field recordings is now housed in the Sound Archives of the British Library in London and many of his field recordings are currently available on some 40 CDs.
Michael Yates also collects tribal art, chiefly from Africa, contemporary British art and studio pottery.

Title of Exhibition: “Strange but Somehow Beautiful” – Art of the Adan People of South-East Ghana.
Place: Artsite, The Post Modern, Theatre Square, Swindon, Wiltshire, SN1 1QN
Exhibition Dates: Thursday, 14th March – Saturday, 23rd March, 2013 Opening Times: 11am – 4pm.
Open every day Talk: Wednesday, 20th March, 2013. 7pm start
Contact: Mike Yates – (01793) 531320


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72nd tribal art auction - Strong selection of non-European art
Auction: Saturday, 9th March 2013
Bilingual catalogue English - German one issue / subscription four issues Europe 41 € / 164 €, Overseas 48 € / 192 € (incl. shipment)




Douglas Dawson presents TERRA COTTA twenty years exhibiting African ceramics.



Tribal Art
Veilinggebouw De Zwaan B.V. Keizersgracht 474 - 1017 EG Amsterdam
Telefoon 020 622 0447 - Fax 020 638 45 76 E-mail


*results as pdf file
Maîtres Alain CASTOR & Laurent HARA
lundi 25 mars 2013
DROUOT Richelieu, PARIS, salle 15 à 14h


Oceanic & African Arts TUE 26 MAR 2013 - 6:00PM
A sale comprising several significant collections of Maori taonga and artefacts, a word-class collection of African objects and a range of Oceanic material from an array of cultures. A superb collection of Maori and Polynesian weaponry and adornment, and a quality selection of Melanesian shields will be on offer; African highlights include a superb Pende mask and a fine Kuba cup. Also included is a private collection of tribal rugs and jewellery.




Katalog Stammeskunst/Tribal-Art; Afrika
28. März 2013
Palais Dorotheum (Dorotheergasse 17, 1010 Wien, Österreich)
ca. 140 Seiten
über 210 Objekte

Das 1707 gegründete Dorotheum ist heute 300 Jahre nach seiner Gründung das größte Auktionshaus in Mitteleuropa, das größte im deutschsprachigen Raum sowie eines der führenden der Welt. Jährlich finden rund 600 Auktionen zu mehr als 40 Sparten statt.

Tribal Art, so der gängige englische Begriff, erweitert jetzt das Angebot des Dorotheum. International herrscht steigende Nachfrage nach Objekten von Stämmen aus Afrika, Indonesien, Asien, Australien, Nord- und Südamerika.

Dorotheum GmbH & Co KG Robert Eichhorn Dorotheergasse 17 1010 Wien Österreich

sold on Ebay in 2013  20 Euro
available on Ebay in 2014  25 $


SAMEDI 30 MARS 2013 A 14H15
ARTS PRIMITIFS Collection de Monsieur « E . B », Afrique et à divers



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dimanche 14 avril 2013 14:30
Hôtel des ventes d’Enghien - 2, rue du Dr-Leray 95880 Enghien-les-Bains



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lundi 22 avril 2013 à 14:00 à


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*results have not been published
maison de ventes aux enchères HERBELIN
vente aux enchères sur le thème « ARTS PRIMITIFS »
samedi 27 Avril 2013 à Chinon

La vente comprend notamment :
- Un ensemble de massues Kanak ramenées en 1865 par l’Enseigne de Vaisseau Leffet et conservées depuis dans la famille. - Des objets collectés au Congo entre 1894 et 1900 par le Sergent Louis-Léopold GLAUMIN. - Un rare ensemble de boucliers et armes blanches d'Afrique noire. - Des objets de la dispersion de la collection Godichaud, de la collection Joseph Christiaens, de la collection Blanckaert, de la collection Grimonprez et à divers. Des objets inédits dans le marché.
Expert : Mr Christian-Hervé NJIENSI  Email.
L’Etude : 0247931264. Email :


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Summer 2013 catalogue





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African, Oceanic and Pre-Columbian Art Auction 20946
New York
Mama headdress

Here is a listing of the lots sold with the first number being the lot number, then the item description, and then the sale price at which it sold (in the currency of the location at which the sale was held):

Lot 1

Jade Figural Pendant, Costa Rica, ca. 500 B.C. - A.D. 500 height 2 1/2in (6.4cm)

US$ 2,000

Lot 2

Jade Bird Pendant, Costa Rica, ca. 500 B.C. - A.D. 500 height 3in (7.7cm)

US$ 2,750

Lot 3

Jade Pendant, Costa Rica, ca. 500 B.C. - A.D. 500 width 2 5/8in (6.7cm)

US$ 1,250

Lot 4

Rare Gold Shark Pendant, Costa Rica/Panama ca. A.D. 500-1000 length 4 7/8in (12.6cm); (54.1gms)

US$ 22,500

Lot 5

Anthropomorphic Pendant Necklace, Costa Rica, ca. A.D. 850-1200 length 11in (28cm); length of pendant 1 1/2in (3.8cm)

US$ 4,000

Lot 6

Tairona Gold Lizard Pendant, ca. A.D. 1000-1500 width 1 1/2in (3.8cm) (10.7g)

US$ 4,000

Lot 7

Pair of Large Inca Gold Earrings, ca. A.D. 1450-1532 Lenghts 3 1/2in (8.9cm)

US$ 2,812

Lot 8

Pair of Inca Gold Earrings, ca. A.D. 1450-1532 lengths 3in (7.6cm)

US$ 3,125

Lot 10

Two Inca Gold Figures, ca. A.D. 1450-1532 heights 1 1/4 and 2in (3.2 and 5.1cm)

US$ 5,625

Lot 11

Aztec Stone Goddess with the Tasseled Headdress, known as Chalchiuhtlicue, ca. A.D. 1400 - 1521 height 11 3/4in (29.8cm)

US$ 6,000

Lot 12

Teotihuacán Stone Figure Classic, ca. A.D. 450-650 height 5 1/8in (13.11cm)

US$ 4,000

Lot 15

Chinesco Seated Figure Protoclassic, ca. 100 B.C. - A.D. 250 height 5 3/4in (14.6cm)

US$ 1,375

Lot 16

Jalisco Seated Female Figure Protoclassic, ca. 100 B.C. - A.D. 250 height 7 3/4in (19.7cm)

US$ 625

Lot 17

Jalisco Standing Female Figure Protoclassic, ca. 100 B.C. - A.D. 250 height 8 3/4in (22.3cm)

US$ 400

Lot 18

Colima Seated Dog Protoclassic, ca. 100 B.C. - A.D. 250 height 10 1/4in (26cm)

US$ 3,125

Lot 19

Jalisco Conjoined Seated Couple Protoclassic, ca. 100 B.C. - A.D. 250 height 10 1/2in (28.7cm)

US$ 5,250

Lot 20

Colima Deer Vessel Protoclassic, ca. 100 B.C. - A.D. 250 length 12 1/2in (31.8cm)

US$ 6,250

Lot 22

Colima Seated Shaman Protoclassic, ca. 100 B.C. - A.D. 250 height 12 3/8in (31.4cm)

US$ 2,125

Lot 26

Nayarit Seated Warrior Protoclassic, ca. 100 B.C. - A.D. 250 height 19in (48.3cm)

US$ 7,500

Lot 27

Jalisco Conjoined Seated Couple Protoclassic, ca. 100 B.C. - A.D. 250 height 10 3/4in (27.3cm)

US$ 3,125

Lot 30

Maya Polychrome Plate Late Classic, ca. A.D. 550-950 diameter 12 3/4in (32.4cm)

US$ 2,125

Lot 31

Maya Carved Cylinder Vessel Late Classic, ca. A.D. 550-950 height 7 7/8in (22cm); diameter 4 7/8in (12.6cm)

US$ 1,500

Lot 32

Maya Polychromed Circular Pot Late Classic, ca. A.D. 550-950 width 7 1/4in (18.5cm)

US$ 1,625

Lot 33

Maya Modeled Face Classic, ca. A.D. 250-800 height 7 1/2in (19.1cm)

US$ 4,750

Lot 36

Three Books on Polynesian Art and Culture, including: Barrow, Terry, Women of Polynesia, Seven Seas Publishing Co., New Zealand, 1967; Kooijman, Simon, Tapa in Polynesia, Bishop Museum Press, Hawaii, 1972; and, The Kamehameha Schools, Ancient Hawaiian Civilization, Honolulu, 1933

US$ 375

Lot 37

Knobbed Pounder, Hawaiian Islands height 8in (20.3cm)

US$ 1,250

Lot 38

Two Sling Stones, Hawaiian Islands widths 2 and 2 1/4in (5.1 and 6.4cm)

US$ 500

Lot 42

Stone Adze, Hawaiian Islands length 9 1/4in (

US$ 687

Lot 44Y

Rare and Important Knobbed Pounder, Hawaiian Islands height 8in (20.3cm)

US$ 6,250

Lot 45

Bowl, Hawaiian Islands height 8in (22cm); diameter 9 1/2in (24.1cm)

US$ 5,000

Lot 46

Extremely Large and Rare Bowl, Hawaiian Islands diameter 16in (40.5cm)

US$ 8,750

Lot 47

Large and Rare Bowl, Hawaiian Islands diameter 17 1/2in

US$ 4,750

Lot 48

Important and Rare Royal Bowl, Hawaiian Islands diameter 13 1/8in (33.2cm)

US$ 15,000

Lot 49Y

Rare Necklace, Hawaiian Islands overall length 9 3/4in (24.8cm); length of pendant 2 3/4in (7cm)

US$ 25,000

Lot 50

Extremely Rare Barkcloth, Hawaiian Islands 21 by 16 1/8in (53.3 by 41cm)

US$ 5,250

Lot 51

Collection of Decorated Barkcloth, Hawaiian Islands length of largest 7 1/2in (19cm) frame 26 1/4 by 20 1/8in (66.7 by 51.2cm)

US$ 500

Lot 52

Important and Rare Collection of Barkcloth Samples, Hawaiian Islands largest 11 by 8 1/2in (28 by 21.5cm); smallest 2 by 2in (5 by 5cm)

US$ 8,125

Lot 55Y

Important and Rare Kahili Handle, Hawaiian Islands length 19 1/4in (49cm)

US$ 9,375

Lot 57W

Rare Thrusting Spear, Hawaiian Islands length 79in (200cm)

US$ 3,750

Lot 60

Model Club, Marquesas Islands length 45.5in (115.6cm)

US$ 1,875

Lot 61

Pounder, Marquesas Islands height 8 1/2in (21.5cm)

US$ 937

Lot 62

Rare Adze, Marquesas Islands length 8in (20.3cm)

US$ 3,125

Lot 63

Rare Canoe Prow, Marquesas Islands length 15 7/8in (39.5cm)

US$ 70,900

Lot 64

Ball-Headed "Rootstalk" Club, Fiji Islands length 42 1/2in (108cm)

US$ 2,500

Lot 65Y

Rare Necklace, Niue Island length 51in (129.5cm)

US$ 3,125

Lot 67

Rare Feast Bowl, Raivavae Island, Austral Islands length 22 3/8in (57cm)

US$ 3,125

Lot 68

Ceremonial Paddle, Austral Islands length 58 1/2in (148.6cm)

US$ 2,500

Lot 69

Ceremonial Paddle, Austral Islands length 26 1/2in (67.3cm)

US$ 5,000

Lot 70

Large Ceremonial Hafted Adze, Mangaia, Cook Islands length 32 3/4in (83.3cm)

US$ 7,250

Lot 71

Adze, Cook Islands length 7 1/2in (19cm)

US$ 1,625

Lot 72

Exceptional and Rare Maori Hand Club, New Zealand length 15 5/8in (40cm)

US$ 32,500

Lot 73Y

Maori Hand Club, New Zealand length 13in (32cm)

US$ 2,250

Lot 74

Large Maori Hei Tiki Blank, New Zealand height 5 5/8in (14.3cm)

US$ 4,000

Lot 76

Maori Adze, New Zealand length 6in (15.3cm)

US$ 3,125

Lot 77Y

Nose Ornament, Solomon Islands length 4in (10.2cm)

US$ 1,250

Lot 78Y

Important Woman's Valuable, Palau (Belau), Caroline Islands length 9in (23cm)

US$ 2,375

Lot 79Y

Important Woman's Valuable, Belau (Palua), Caroline Islands length 6 3/4in (17.2cm)

US$ 1,875

Lot 82W Y

Figure, Vanuatu height 37in (94cm)

US$ 2,375

Lot 87W

Male Figure, Kwoma People, East Sepik Province, Papua New Guinea height 77in (196cm)

US$ 12,500

Lot 88W

Figure, Highlands, Papua New Guinea height 50 3/4in (129cm)

US$ 2,500

Lot 89W

Figure, Komininmung People, Ramu River, Papua New Guinea height 48 3/4in (124cm)

US$ 4,375

Lot 90W

Shield, East Sepik Province, Papua New Guinea height 50in (127cm)

US$ 5,250

Lot 94W

Lagrange Shield, Australia height 40 1/2in (102.9cm)

US$ 1,875

Lot 95W

War Shield, probably Wasar River, North-Western Asmat, West Papua New Guinea height 66 3/4in (169.5cm)

US$ 6,875

Lot 97W

Dayak Ancestral Guardian Figure, Kalimantan, Borneo Island height 57 3/4in (147cm)

US$ 2,500

Lot 98Y

Modang Dayak Headhunting Sword Handle, Borneo Island length 3 3/8in (8.6cm)

US$ 500

Lot 99

House Guardian Figure, Sumba Island height 11 3/4in (30cm)

US$ 1,250

Lot 100

Ngaju Dayak Spreader Bar for Baby Swing, Borneo Island length 14 3/8in (36cm)

US$ 437

Lot 104

Lobi Male Figure, Mali height 25 1/4in (64.2cm)

US$ 12,500

Lot 106

Bamana Figurative Doorlock, Mali height 16in (40.7cm)

US$ 1,500

Lot 107W

Mossi Housepost, Burkina Faso height 7ft 6 1/4in (229.2cm)

US$ 3,750

Lot 108W

Mossi Housepost, Burkina Faso height 41in (104cm)

US$ 3,125

Lot 109

Northern Tussian or Siemu Helmet Mask, Burkina-Faso height 26 1/4in (66.5cm)

US$ 21,250

Lot 110Y

Lobi Pendant, Burkina Faso height 9in (23cm)

US$ 11,875

Lot 111

Mossi Bird Mask, Burkina Faso length 12 3/4in (32.5cm)

US$ 625

Lot 112

Group of Three Heddle Pulleys, Ivory Coast, including a Senufo, Attye and Baule heights 6 3/4in (17.5cm), 7 1/8in (18.2cm) and 9 1/8in (23.25cm)

US$ 3,125

Lot 113

Dan Spoon, Liberia/Ivory Coast length 15 3/4in (40cm)

US$ 3,750

Lot 114

Dan Spoon, Liberia/Ivory Coast height 21 1/2in (54.5cm)

US$ 13,125

Lot 116

Guro Heddle Pulley, Ivory Coast height 7 1/2in (19.1cm)

US$ 3,125

Lot 119W

Senfuo Rhythm Pounder, Ivory Coast height 50 1/4in (128cm)

US$ 42,500

Lot 121

Fante Female Doll, Ghana height 14 5/8in (37.5cm)

US$ 7,500

Lot 123

Akan-Kwahu/Ahinsen Head, Ghana height 10in (25.4cm)

US$ 2,750

Lot 127

Igala Janus Mirror, Nigeria height 16 1/2in (42cm)

US$ 625

Lot 128

Large Mama Antelope Headdress, Nigeria length 25in (63.5cm)

US$ 3,750

Lot 129W

Igbo Female Shrine Figure, Nigeria height 56 5/8in (143.7cm)

US$ 4,750

Lot 130W

Yoruba Staff, Nigeria height 60 1/4in (153cm)

US$ 1,250

Lot 131W

Yoruba Ogboni Dignitary's Door, Western Nigeria height 50in (129.5cm)

US$ 5,000

Lot 132Y

Yoruba Eshu Staff, Nigeria height 16 1/2in (42cm)

US$ 5,000

Lot 134Y

Yoruba Twin Male Figures, Nigeria height of each 11in (28cm)

US$ 4,750

Lot 136

Yoruba Divination Bowl, Nigeria height 10 3/4in (27.3cm)

US$ 2,125

available on Ebay in 2014  23 Euro


*html with results
auction 917
175 pp.
African art
210 lots

sold before the auction for 10 Euro


*pdf with results
African, oceanic & pre-Columbian art
New York
16 May 2013
sale N08994

was available before the auction for 45 $
available in 2014 in USA  24 Euro
available like new, including a page with results printed, from  for 23 Euro




*pdf of printed catalog
*pdf of results
73th tribal art auction - Strong selection of non-European art
Auction: 2013-05-25
Bilingual catalogue English - German one issue / subscription four issues Europe 41 € / 164 €, Overseas 48 € / 192 € (incl. shipment)


Exposition sur les masques Pende colorés à la Schiller Art Gallery à partir du samedi 1 juin 2013 jusqu'au 15 juin 2013.
Ayant rencontré les Occidentaux, les Pende commencèrent à utiliser la peinture "occidentale" dès les années 20-30.
Cette exposition a pour objectif de vous présenter le mariage de l'art Pende avec la peinture occidentale.

Exhibition "Colorful Pende Masks" or how the Pende used the chemical colors in order to magnify their masks.
The Schiller Art Gallery will present around 10 Pende masks from the 1st of June until the 15th of June 2013.



Néret-Minet Tessier & Sarrou
Samedi 01 juin à 14h00
Drouot Richelieu - Salle 16
48 pages
Arts Premiers
EMail :
Tél. : 01 40 13 07 79 Fax : 01 42 33 61 94
Cultures Fang, Tonga, Luba, Ibo, Mambila, Bamileke, Kota ...
Avec photos couleurs, descriptions et estimations
La majorité des objets présentés sont africains, cf. titre et couverture, mais des objets d'autres provenances figurent aussi dans le catalogue.
Couverture souple illustrée
21 x 27 cm
Poids: 210 g


sold on Ebay in 2013  8, 12 Euro


AuctionArt - Rémy Le Fur & Associés
03 Juin 2013
Art Primitif
40 pages

consacré exclusivement à l'Art tribal d'Afrique, art primitif, ... à travers la fin de la dispersion de la prestigieuse collection Armand Charles
28 lots présentés à la vente, décrits avec précision, comprenant photographies et estimations...$T2eC16RHJGYE9nooh7%21oBSV,09w%29Ng%7E%7E60_12.JPG$T2eC16VHJH4FHcO9jc%21kBSV,1HhnN%21%7E%7E60_12.JPG$T2eC16hHJGMFFoO3%21S,TBSV,1ORT%28%21%7E%7E60_12.JPG$%28KGrHqRHJFUFI3qSRHvpBSV,1U%29e+g%7E%7E60_12.JPG



Grand Sablon 7 rue Lebeau 1000 Bruxelles T.: 00 32 (2) 484 515 320
Au Mali, chez les Bozo, les maîtres de l'eau, le théâtre traditionnel depuis 600 ans se nomme Sogo-Bo. Les représentations se déroulent à l'occasion d'événements importants de la vie sociale du village. Leur but est d'honorer les esprits pour obtenir protection et abondance. Ces fêtes ont souvent lieu la nuit sur la berge du fleuve, les longues pirogues en bois servant de scène pour les danseurs, les chanteurs et les montreurs de marionnettes. Leur jeu au son des tambours évoque d'anciennes légendes ou les histoires récentes du village. Plus qu'un divertissement théâtral, ce rituel est un ciment social et pédagogique qui explique, dédramatise la vie de la communauté. Les masques et marionnettes appartiennent à l'association du Sogo. Ils sont fabriqués par les forgerons, seuls à détenir les clés des symboles. Souvent les objets anciens sont réparés et repeints. Leur diversité est sans limite: hommes, femmes, animaux de toutes sortes. les jeunes garçons, quand ils deviennent membres de l'association, sont initiés en secret par leurs ainés à la signification et à la manipulation des éléments du théâtre.

Cette exposition à Bruxelles propose un ensemble d'oiseaux en bois polychrome (Malikono, Novokun) au long bec articulé. Ils étaient portés au bout de perches par les danseurs dissimulés sous des tissus. le porteur faisant claquer le bec de son oiseau, rythmant un chant (Samanba) dédié à la sortie des oiseaux pour marquer le début de la campagne de pêche.



5-9 juin 2013
Vernissage : Mercredi 5/06 de 15h à 21h


Un peu d'histoire ...
C'est en 1983, à l'occasion de l'ouverture de la galerie Ambre, que surgit l'idée de réunir autour de cette inauguration cinq à six collègues antiquaires en arts primordiaux et d'ainsi proposer au public les premières "Portes Ouvertes sur les arts non européens" au Sablon.
Le projet aboutit, succès à la clef... L'idée allait s'incruster au point d'entraîner d'autres galeries, belges et étrangères.
En 1988, un dépliant modeste matérialise ce ralliement d'antiquaires en constante progression, et trois ans plus tard, l'édition d'un premier catalogue témoigne du succès de cette association momentanée d'antiquaires mobilisés en vue d'un même objetif : promouvoir l'exceptionnelle richesse des arts premiers dont ils sont les ambassadeurs.
A parti de 1996, les antiquaires bruxellois invitèrent même en leurs locaux des collègues étrangers. Aujourd'hui, les galeries françaises, italiennes, espagnoles, anglaises, hollandaises et américaines se sont jointes à l'événement, lui conférant une dimension internationale.
La Brussels Non European Art Fair est devenue l'une des plus importantes manifestations d'arts non-européens, couvrant des secteurs aussi divers que l'art africain, l'art océanien, l'art indonésien, l'art précolombien ou encore l'art asiatique et l'art des Aborigènes d'Australie.
Sculptures, masques, fétiches, armes, bijoux, monnaies, tissus, objets traditionnels exécutés par les populations à leur usage ; en bois, métal, or, argent, bronze, ivoire ou terre cuite, les objets exposés sont rituels ou domestiques, alliance de la forme et de l'ornement. Si la forme obéit toujours aux exigences pratiques, elle témoigne également d'une certaine vision du monde. Ainsi l'objet d'art africain, indien ou tibétain puise-t-il aux richesses des mythes fondateurs de la mémoire collective, respectant les normes esthétiques et symboliques de la tradition et résultant de procédés de fabrication ancestraux.

available from  for 4 Euro


Didier Claes
8 pp.
A3 format

available from for 1 Euro


Lega gems
catalog of the exhibition
5-9 juin 2013
Vernissage : Mercredi 5/06 de 15h à 21h
1000 copies printed

available in 2013 from BRUNEAF  40 Euro


Bruno Claessens
ERE IBEJI: Dos and Bertie Winkel Collection
600 copies printed

Een nieuw uniek boek in beperkte oplage: ERE IBEJI Het betreft de verzameling Ere Ibeji uit de collectie van Dos en Bertie Winkel. Ere Ibeji zijn beeldjes die in de 19e en eerste helft van de 20e eeuw gemaakt werden door de Yoruba in Nigeria, wanneer één of beide van een tweeling bij de geboorte of later kwam te overlijden.

Uit de inleiding van het boek: The Yoruba of Nigeria are widely known for their particularly high number of twins. Seen from a worldwide point of view, great discrepancies are seen in this proportion of dizygotic twins. In Europe, the average is one set of twins per eighty births. Scandinavian lands - notably Denmark, Sweden and Finland - boast the European record with the incidence of one twin-pair for each 65 births. The absolute world record goes to the Yoruba, where twins appear every 22 to 24 births. This means that the rate of twin births is four times that of anywhere else and that each eleventh or twelfth Yoruba child is born as a twin. The reason for this exceptional phenomenon remains unknown, though some studies point to possible causes related to nutritional and genetic factors.

Among the Yoruba of southwest Nigeria, the rate of twin births is over four times the worldwide average. This fact along with a high infant mortality rate gave rise to the creation of a unique twin cult. For each deceased twin, a small carved wooden figurine, or ere ibeji, was made in which the spirit of the deceased could live on. This statuette was lovingly cared for on a daily basis and in return brought the family health and prosperity. Through the lens of Jean-Pierre Depienne and the pen of Bruno Claessens, the 32 ere ibeji from the private collection of Dos and Bertie Winkel are presented in this book for the first time. After an introductory text on the subject, the extensive variety of styles of this very particular type of African art are described in depth.

list price 80 Euro

Bruno Claessens Ere Ibeji 2 1024x595 Ere Ibeji   Dos and Bertie Winkel Collection (Bruno Claessens, 2013)

Bruno Claessens Ere Ibeji 3 1024x577 Ere Ibeji   Dos and Bertie Winkel Collection (Bruno Claessens, 2013)

Bruno Claessens Ere Ibeji 4 1024x598 Ere Ibeji   Dos and Bertie Winkel Collection (Bruno Claessens, 2013)

Bruno Claessens Ere Ibeji 5 1024x590 Ere Ibeji   Dos and Bertie Winkel Collection (Bruno Claessens, 2013)

Bruno Claessens Ere Ibeji 6 1024x583 Ere Ibeji   Dos and Bertie Winkel Collection (Bruno Claessens, 2013)

Bruno Claessens Ere Ibeji 7 1024x563 Ere Ibeji   Dos and Bertie Winkel Collection (Bruno Claessens, 2013)

Bruno Claessens Ere Ibeji 8 1024x575 Ere Ibeji   Dos and Bertie Winkel Collection (Bruno Claessens, 2013)

Bruno Claessens Ere Ibeji 9 1024x567 Ere Ibeji   Dos and Bertie Winkel Collection (Bruno Claessens, 2013)

Bruno Claessens Ere Ibeji 10 1024x578 Ere Ibeji   Dos and Bertie Winkel Collection (Bruno Claessens, 2013)

Bruno Claessens Ere Ibeji 11 1024x567 Ere Ibeji   Dos and Bertie Winkel Collection (Bruno Claessens, 2013)

s of this very particular type of African art are described in depth.






Catalog: Bamana art


*html including results

available on Ebay in 2014  14 Euro
available like new form  for 15 Euro


*sold in 2014 for 5 Euro
Christophe Joron Derem
EMail :
Tél. : 00 33 (0)1 40 20 02 82
Vingt ans de collection Voyageurs du Monde
Hôtel Drouot - Salle 11
Lundi 10 juin à 14h00

sold on Ebay for 10 Euro


Leclere - Maison de Ventes
13006 Marseille (France)
Vente aux enchères du Samedi 15 juin 2013
Vente Art Tribal
Thème(s) de la vente : Objets d'Art, Arts Premiers, Collections

Art Tribal - Art d'Afrique



ETUDE DE PROVENCE - Art tribal (Afrique, Océanie)
Samedi 15 juin à 14h30
Lieu de vente SCP RIBIERE & TULOUP-PASCAL 25 rue Breteuil 13006 Marseille
215 lots illustrés


*sold in 2014 for 3 Euro
lundi 17 juin 2013 à 14:00 à RENNES
22 pp.
Expert : Monsieur ROUDILLON assisté de Pierrette REBOURS
collection Massa
Burkina Faso
Les Trois Volta


*pdf file including results
la collection Françoise et Jean Corlay - Arts d'Afrique
le 18 juin à Paris
Vente: PF1338
88 pp.
Sotheby’s dévoilera en juin la collection Françoise et Jean Corlay d’arts du Congo. Son cœur en est un remarquable ensemble de statues Songye, illustrant dans ses œuvres monumentales autant que dans ses miniatures les notions de « force et sensible ». Une exceptionnelle statue Janus Songye à patine suintante renvoie de manière saisissante au vocabulaire qui fonda le Cubisme, tandis qu’un superbe appuie-tête provenant de la collection Bela Hein illustre le génie créatif des artistes Yaka.

On Tuesday 18 June 2013, Sotheby’s Paris held a sale devoted to African art. The session made a turnover of €3.7m, which was much lower than its previous estimates, between €5m and €7m. In addition, almost a half of lots remained unsold (64/120). Lots issued from the Françoise and Jean Corlay collection, featuring pieces originated mainly from Kongo, proved the most unsuccessful.

Among sold lots: an androgynous statue sold for €340,000, below its lowest estimate of €350,000; Songye head rest purchased for €420,000 much beyond its estimation between €120,000 and €180,000.

Finally the auction’s highlight, Yoruba Royal couple (Nigeria) remained unsold. Indeed, bids stopped at €880,000, while its estimation (on demand) was €1m. :

Auction review: Sotheby’s Paris – June 18, 2013 – Part 1: Corlay collection

The Sotheby’s Paris auction of the Françoise & Jean Corlay collection (18/06/13) was anything but a success with only 16 of the 50 offered lots selling for a total € 752,700 (premium included). With a mere 32 % of the lots sold this dramatic result left the packed auction room in silence after quite a noisy sale. Luckily for Sotheby’s, the cover lot, a rare janus Songye figure was sold – though also only just below the lower estimate with a final bid of € 340K (est. € 350-500K).

Explanations ? Firstly, from the 16 sold lots only 6 lots sold above the lower estimate (excluding the premium). One could thus conclude that Sotheby’s was a bit too enthusiastic with its pre-sale estimates. What to think of the estimate of € 4-6K for two ordinary Kuba boxes? There are many other examples were the difference with the real market price was too big to generate any interest. Stimulated by previous results and a tendency to overprice, the reserve prices often didn’t let much room for bidding. The ivory Mbuun whistle (Est. € 20-30K) for example only got a single bid (€ 15K).

Together with the high estimates, the Kinshasa provenance of many lots didn’t help either. Many collectors have been brainwashed by dealers that it is impossible to find authentic objects in situ. They know better of course; and in their turn were suprised with the huge difference between the Kinshasa prices (once paid by the Corlays) and the current estimates.

Lastly, the quality of some pieces left much to be desired. Lot 25, a Yombe figure, was withdrawn from the sale. Probably Sotheby’s was misguided by the fact that it was published in Lehuard’s Art Bakongo. Some objects were colonial (for example the Songye knife) and the estimates of many other lots didn’t correspond with their quality, for example this mediocre Songye figure (Est. € 6-9K) or its big ugly brother (Est. € 300-400K!).

So, who’s to blame? I doubt the Corlay family insisted on having such high estimates; though it might have been a bait by Sotheby’s while persuading them to entrust them with their collection. Despite the praising introductory texts of Frank Herreman and François Neyt, the collection was also missing some importance. The majority of the featured objects was never published or exhibited and the Corlay name remained largely unknown. Despite all efforts to present the collection as highly important, they thus failed to generate extra value with this presentation.

But, with the big grin of the janus Songye in mind, he who laughs last, laughs best; since the new owner of this fantastic masterpiece did make a bargain.

was available before the auction from Sotheby's for 25 Euro
available in 2014 from Vasco  120 Euro
available like new, with a page of results included, from  for 25 Euro




*pdf file including results
Arts d'Afrique et d'Océanie
Paris | 18 June 2013 | PF1308 :

Auction review: Sotheby’s Paris – June 18, 2013 – Part 2

Though not as dramatic as the sale of the Corlay collection. the second part of the last Sotheby’s Paris auction (18/06/13), with only just more than half of the African lots sold (29 / 56), wasn’t a big success either. 27 lots remained unsold (most notably the Sapi head, Senufo couple and Yoruba bowlbearer). Including the premium, 10 objects sold under the estimate (for example the hide Lega mask), 14 within the estimate (for example the golden Baule menage à trois, which had higher expectations) and 5 above the estimate, with special mention to the Crowninshield Baule mask. Estimated at € 120-180K, it sold for € 781K to a telephone bidder in the US. Heavily cleaned and stripped from a fiber beard, it corresponds with a certain modernistic aesthetic which I personally don’t like at all, but which is very popular among many collectors (as proven by its price).

The most important work in the sale was a Songye headrest from the Jean H.W. Verschure collection collected F. Vandevelde before 1891. It didn’t fail to impress and quadrupled its estimate (€ 120-180K), selling for € 505K. The anthropomorphic neckrest did not show much use, but with its exceptional early provenance and counterpart in the Louvre was a one time only opportunity not to be missed.

The most memorable lot for auction in the sale was the Yoruba bowl from the Samir Borro collection. It was estimated at € 1,2-1,4 million but failed to sell. Bidding started at € 800K, went very slow and stopped at € 880K, after which the lot was passed. This final bid would already have been a record price, but apparently the reserve price was even higher. I would have taken the € 880K – already three times its actual value if you ask me.

A personal favourite was this Lower Niger bronze bell. With its 34 cm, this rare bell was very impressive in person. Showing that online bidding is now an integral option, the Luluwa figure was bought by a online viewer for € 32K. Worth a last mention, was a Hemba ancestor figure which was bought by a Belgian dealer for € 121K. If the workmanship of the body had matched the incredible head (in the much loved naturalistic style) this statue could have been sold for more than a million euro.

was available before the auction from Sotheby's for 30 Euro
available in 2014 from Vasco  120 Euro
available like new, with a page of results printed, from  for 30 Euro


*pdf without photos or results
*results as html file
American Indian & Ethnographic Arts - 2662M
Skinner Sale features a selection of African weapons and Pre-Columbian pottery from the collection of Louis Renault
American Indian & Tribal Art Auction in Marlborough
Marlborough, Mass.
Skinner, Inc. will host an auction of American Indian & Tribal Art on June 19th in its Marlborough gallery. This eclectic sale is ideal for both advanced and novice collectors alike, and features a variety of affordable items including a selection of African weapons and Pre-Columbian artifacts from the collection of Louis Renault.

African Weapons

More than 50 lots of African weaponry include swords, axes, and ornate ceremonial knives. The cover lots clearly show the sculptural and decorative qualities of these weapons:
a Tetela dagger (lot 5, estimated between $250 and $350),
a Nbaka throwing knife (lot 10, $250 to $350),
a Ngombe “Executioner’s” sword (lot 14, $250 to $350), and
a Mangbetu ivory-handled knife (lot 28, $250 to $350).
A Songe prestige axe with a copper-wrapped wood handle (lot 8, $250 to $350),
a Yoruba bronze ceremonial sword depicting a human figure holding a fish (lot 12, $250 to $350),
a Kuba prestige knife with brass inlays (lot 20, $250 to $350),
and a Dahomian carved wood and metal ritual axe with a stylized animal head (lot 26, $250 to $350) round out an excellent selection of weapons.

Please note: A print catalog was not published for this auction. Please consult the online catalog.

This auction is an excellent venue for novice collectors and those interested in starting to collect. Highlights include Native American material as well as more than fifty lots of African weapons. Knives, swords, and axes will be sold, including some especially ornate “ceremonial knives.” These highly sculptural items make excellent decorative additions to modern decor.

Contact Us 508-970-3254




Art Africain et Oceanien: collection Bartos

Highlights of African and Oceanic Art Featuring Masterpieces of New Guinea from the Jolika Collection of the Fine Arts Museums of San Francisco

Paris & New York

Event Date: March - May 2013

Jolika Collection, Fine Arts Museums of San Francisco, deYoung Museum


Christie’s Paris 18-23 March 2013, 10am–6pm 9 avenue Matignon, Paris

Christie’s New York 3-15 May 2013, 10am–5pm 20 Rockefeller Plaza, New York


Sale Location Christie’s Saleroom 9 avenue Matignon, Paris

Auction Date 19 June 2013

Viewing Times 15, 17-18 June 2013


New York Susan Kloman Tel: +1 212 484 4898

Paris Charles-Wesley Hourdé Tel: +33 (0) 1 40 76 83 86

London Pierre Amrouche Tel: +44 (0) 7760 553 957

The sale of African and Oceanic art, held on 19 June at Christie’s Paris, made a total turnover of €7.896m, which is the best result ever for the department.

An important part of the record belongs to the Jolika Collection (Fine Arts Museum of San Francisco), which made $3.172m, becoming the most important collection of Oceanic art ever to be sold on auction. It is also worth noticing that the world record for a piece of Oceanian art was established with the sale of a Biwat Ridgepole Figure, issued from Mid-Yuat, Bas-Sépik, Papoua New Guinea, purchased for €2.505m, far beyond its high estimate of €1m.

In addition, a “Baga Snake” Bansonyi, issued from the Republic of Guinea, was sold for €2.337m and established a new record for Baga art.

available in 2015 from Vasco 130 Euro
available with a list of results printed from  for 90 Euro




LACMA inaugurates new African Art gallery By Artkhade with Art Media Agency

Los Angeles, 20 June 2013 LACMA inaugurates new African Art gallery

The Los Angeles County Museum of Art (LACMA) is to inaugurate its new, permanent gallery, dedicated to the arts of Africa with the exhibition ‘Shaping Power: Luba Masterworks from The Royal Museum for Central Africa’, on display from 7 July 2013 to 5 January 2014.

The exhibition is to explore artistic traditions and emblems of power from the Luba Kingdom, one of the most influential in Central Africa. Rare sculptures from the Luba people of the Democratic Republic of Congo will be on display, including figurative thrones, sceptres, royal cups, intricately carved headrests and ancestral figures. It is rare that such works should be exhibited in the United States, and it is the first time the collection will be shown in Los Angeles

The exhibition is co-curated by LACMA and the Royal Museum for Central Africa in Belgium.


*pdf catalog
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Castor & Hara
Origine Expert


Sophie Laporte
Charles Ratton : L'invention des arts primitifs
Charles Ratton. The invention of the “primitive” arts at Musée du quai Branly
ISBN-10: 2081295407
ISBN-13: 978-2081295407
Product Dimensions: 28.8 x 22.8 x 2.2 cm
Book is written in French
Opening June 25th and running until September 22, the Paris Musée du quai Branly presents an exhibition on Charles Ratton (1895-1986).
Charles Ratton. The invention of the “primitive” arts wishes to highlight the view of Charles Ratton, an expert, dealer and collector who changed the history of the way “primitive” art was received, by promoting objects which moved away from the taste for “negro” art that had prevailed up to that time.
His close involvement in the museum world and his scientific curiosity, shown in the richness of his archives, helped his expertise to flourish. His activities as an expert, and the exhibitions he organised, contributed to the shift in status of works from Africa, America and Oceania: from anthropological study objects to works of art in the 1930s, then masterpieces in the 1960s, in France but also in the United States. The portrayal of his links with the artists (the Surrealists, Dubuffet) and photography (“documentary” and artistic photography: Man Ray) helps to highlight this shift towards art and history. The exhibition of objects from the “Early Periods” enables us to appreciate the nuances and context of Charles Ratton’s taste for objects which were ultimately an “entertainment” for him, the earlier illuminating the later and vice versa.

available in 2013  31, 34, 35, 37, 38 Euro


Charles Ratton - Musée du Quai Branly:
Connaissance Des Arts Revue, Hors-série, N° 586
ISBN-10: 275800478X
ISBN-13: 978-2758004783
Dimensions du produit: 29 x 22 x 1 cm

available in 2013  9 Euro


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*sold in 2013 for 19 Euro
Hôtel des Ventes de Monte-Carlo
mardi 25 juin 2013
CIVILISATIONS : Arts Premiers, Arts Asiatiques, Arts Pré-Colombiens
Collection Philippe LARUE
122 pp.
Pour des raisons de confidentialité, les résultats ne seront pas publiés / For confidentiality purposes, the results won't be posted
à l'hôtel des ventes de Monte Carlo, 10-12 Quai Antoine 1er à Monaco

Bamana vertical Chiwara headdress

sold on Ebay in 2014  10 Euro


Koller / Walu
Auction Tribal Art



dimanche 30 juin 2013 15:00
101 LOBI et quelques voisins. Collection Jean-Jacques MANDEL


Chaville Enchères
Maître Jean Marc ELKAIM
dimanche 7 juillet 2013
Origine Expert


Besch Cannes
Origine Expert




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Online catalogue for the 74th tribal art auction
Read more:



From 10 to 15 September 2013, the district of Saint-Germain-des-Prés in Paris is to host an exhibition entitled Parcours des Mondes (Journeying Across Worlds).
The 12th edition of the international show will highlight art from Africa, Oceania and America. It is to include exhibitions by 60 galleries, with 29 from France, 12 from Belgium, 8 from the United States, 3 from Spain, 2 from Italy, 2 from Great Britain, as well as galleries from Canada, Australia, Holland and Switzerland.

The Maine Durieu gallery’s “Salon de Beauté” (Beauty Salon) is to exhibit hair accesories, grooming tools, jewellery and ornaments from Africa, Asia and Oceania, illustrating humans’ long-existing desire to preen and beautify.

The fair will also offer visitors the opportunity to view rarely-exhibited pieces, including: a 19th century Nkisi charm from the Congo, at Galerie Serge Schoffel; the commemorative effigy of a Bamileke king from the Arman collection, presented by the Bernard Dulon Gallery; as well as a Mengen Shield from New-Britain, dating from the end of the 18th century to the beginning of the 19th century, presented by Michel Thieme Tribal Art.

The 2012 edition of the fair welcomed 10,000 visitors and allowed 87% of the participating galleries to meet and sell to new clients.


Parcours des Mondes


A l'occasion de Parcours des mondes 2013, MAINE DURIEU présente l'exposition Salon de beauté du mardi 10 au dimanche 15 septembre, 7 rue Visconti
Un catalogue accompagne l'exposition.




Yann Ferrandin présente l'exposition SELECTION à l'occasion de Parcours des mondes 2013. Le vernissage aura lieu le mardi 10 septembre.




*sold in 2015 for 2 Euro
New York
Just Heads
2013-9 ...
about 36 pages
Catalog printed (high quality)




*results have not been published
Salle des ventes de Chinon - Chinon
Vente aux enchères du Samedi 21 septembre 2013
Vente Art Africain
Thème(s) de la vente : Objets d'Art, Arts Premiers


*sold in 2014 for 10 Euro
*with printed results
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African Art
Auction 110 A + B + C - September 24/25th 2013
Catalogue of Auction 110C - 25.09.2013 - African Art - Collection Klever
24 pp.
color photos
In the evening of the second auction day, bidders home and abroad took a special interest in the weapons of the collection of Ulrich Klever. Most lots attained prices many times over their estimates. A sword-knife of the Yaka climbed from € 240 up to € 1,200. Gold weights were highly coveted. A playboard by the Yoruba counts among the highlights of the auction (€ 2,800), a ritual bed of the Senufo increased its price from € 700 up to € 3,300 and an ancestor of the Bembe was ardently fought over and was sold at € 12,000. Around 65% of the lots on offer were sold. We are looking forward to the next African Art Auction.
weapons, knives

available from Quittenbaum in 2013  10 Euro


Katalog Stammeskunst/Tribal-Art
Palais Dorotheum (Dorotheergasse 17, 1010 Wien, Österreich)
196 pp.
color photos

available on Ebay in 2014  25 $
available with results printed from  for 12 Euro



Limoges Enchères - (87000) Limoges - France
Vente aux enchères du Samedi 28 septembre 2013
Vente Collection BOUE - Archéologie, Arts d’Afrique, Asie, Océanie. Militaria et Chasse


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Maîtres Alain CASTOR & Laurent HARA
Cabinet ORIGINE EXPERT à 13h 46 rue Jules Ferry - 93170 Bagnolet
« Carnets de Voyage »
dimanche 6 octobre 2013


Collectif sous la direction de Christiane Falgayrettes-Leveau; Auteurs : Christiane Falgayrettes-Leveau, Anne-Marie Bouttiaux, Viviane Baeke, Julien Volper, Anne van Cutsem-Vanderstraete et Michael Houseman
Initiés, bassin du Congo
272 pages
En Afrique subsaharienne, être initié signifie tout d’abord que l’on a suivi, sur une période plus ou moins longue et dans des conditions éprouvantes, un enseignement spécifique réservé à une catégorie d’individus. Ensuite, certaines règles de comportement propres au groupe dont on est issu sont partagées avec d’autres personnes, le plus souvent du même âge, du même sexe. Cet ouvrage, qui regroupe des textes d’historiens de l’art, d’ethnologues et d’anthropologues, révèle comment et pourquoi nombre de pratiques rituelles du bassin du Congo sont liées à une grande diversité d’objets : masques, statuettes, insignes, parures, instruments de musique… Les œuvres reproduites ici proviennent majoritairement du Musée royal de l’Afrique centrale de Tervuren ainsi que du Musée Dapper, de collections publiques (Museum aan de Stroom d’Anvers, Wereldmuseum de Rotterdam) et privées.

Format : 22 x 29 cm
Nombreuses illustrations en couleurs et en noir et blanc
Édition brochée : 30 euros TTC
Édition reliée : 39 euros TTC

«Initiés, bassin du Congo», une expérience initiatique au musée Dapper
Par Sébastien Jédor
C'est la nouvelle exposition phare du musée Dapper à Paris, l'un de ceux où l'on peut voir le plus d'oeuvres africaines. Du 9 octobre jusqu’au 6 juillet 2014, Initiés, bassin du Congo nous plonge dans un monde plein de mystères, avec 150 pièces d'une grande richesse, venues surtout de la République démocratique du Congo.

Des masques, mais aussi des colliers, des pendentifs, une chaise sculptée ou encore un étrange instrument à vent : l'exposition du musée Dapper rappelle l'importance des rites d'initiation ou de passage, en Afrique. Passage vers l'âge adulte, quand les adolescents deviennent des hommes, ou porte d'accès au pouvoir.

Si les rituels diffèrent d'une région à l'autre, le parcours initiatique est souvent le même : l'entrée dans le bois sacré, l'isolement, les scarifications, parfois des cérémonies de mort symbolique, ... et le retour dans la communauté, auréolé d'un nouveau pouvoir.

Devins et autres sorciers

Les pièces viennent de la collection du musée Dapper, mais surtout du musée royal de l'Afrique Centrale de Tervuren, en Belgique, l'un des plus riches du monde, qui doit fermer pour rénovation. Elles ont été collectées à la fin du XIXe et au début du XXe siècle, quand les colons étaient obligés, par décret royal, de ramener des objets en Belgique.

Depuis, difficile de savoir dans quelle mesure ces rituels perdurent. Les rumeurs les plus folles courent sur tel ou tel chef d'Etat, qui aurait été « initié » par ses pairs. Les devins et autres sorciers, eux, restent discrets. L'évangélisation et l'exode rural ont mis à mal les cultures anciennes. Sans parler des conflits qui minent l'est de la RDC, et qui engloutissent les hommes, les femmes, et la mémoire des peuples de la région.


Felix, Elsen
FATAL BEAUTY: Traditional Weapons From Central Africa
336 pages
couverture mi-rigide
format A4+
500 photos couleurs, 100 photos NB
textes chinois et anglais
édition Septembre 2013

available in 2013  150 Euro


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lundi 14 octobre 2013 à 14:00 à RENNES
LE GRAND CABINET DE CURIOSITE Antiques lampes à huile en terre cuite Collection de verres irisés d�époque antique Collection archéologique des Amériques et de la Méditerranée Pesons Akan pour la poudre d�or Collection de bracelets en ivoire de Côte d'Ivoire et du Cameroun Sculptures d�Art Négre : Kota, Punu, Baoulé et autres régions L'Océanie Trente années de voyages à travers l'extrême orient d'un collectionneur éclectique et curieux : Bali, Birmanie, Bornéo, Cambodge, Inde, Laos, Népal, Sumatra, Yunnan Quelques curiosités européennes ainsi q'un rare harpon du Grand Nord
206 Boulevard Saint-Germain - 75007 Paris Tél. : 01 42 22 85 97 - Fax : 01 45 48 55 54 -

available from for 3 Euro




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Cornette de Saint Cyr
Arts d'Afrique, Arts d’Asie
Mardi 29 octobre à 14h30
Hôtel Salomon de Rothschild - Petit Salon - 11, rue Berryer - 75008 Paris
EMail : Tél. : +33 (0)1 47 27 11 24 Fax : +33 (0)1 45 53 45 24
81 pp.
color photos

available in 2014 from Vasco for 50 Euro


*digital version of African art objects
This season, Christie’s is privileged to present A Dialogue Through Art: Works from the Jan Krugier Collection, a series of dedicated sales in New York on November 4 and 5.

Survivor, dealer and collector extraordinaire, Jan Krugier (1928-2008) possessed a deep and profound love for art. Through art, he could “escape the nightmares” that haunted him as a Holocaust survivor, and uncover the most inspiring aspects of the human condition. His gallery handled a range of material as varied as his interest in art itself: 19th- and 20th-century paintings hung alongside Old Masters and African sculpture, breaking the confines of the traditional gallery show. In parallel, the astounding personal collection Krugier amassed with his wife was a testament to the couple’s impeccable connoisseurship. Encompassing drawings, paintings and sculpture by old and modern masters, as well as Pre-Columbian and African art, the collection displayed then in the Krugier residence on the outskirts of Geneva could compete with some of the world’s finest museums.

Through it all, Krugier’s passion for art remained a selfless pursuit. “I’m nothing,” the dealer remarked. “I haven’t done anything special. It’s the artists who count, the artists who are important, who truly make a contribution.” Yet Krugier’s legacy continues to offer an unquestionable contribution to this world: as an embodiment of courage and strength, a model of ground-breaking creative vision, and a reminder of the power of art to heal, teach and inspire.

Christie’s New York 20 Rockefeller Plaza


Auction Time Monday, 4 November 7pm

includes some art from Africa, such as a Guro mask

Auction Time Tuesday, 5 November 11am



*pdf with results
On 15 November, Sotheby’s will conduct the sale of a first part of the Allan Stone Collection, including African, Oceanic and Indonesian art.
The second part of the sale will be organised in November 2014.

300 works belonging to the art trader from New York will be offered on auction, thus forming an ensemble estimated at over $20m. Sotheby’s announced that this sale will be the biggest organised in New York since the sale of Helena Rubinstein in 1966. Among the most notable pieces will be sculptures by Songye and Kongo from the Democratic Republic of Congo, including a figure representing the Songye community (79 cm), estimated at more than $1m. Some original works from Nigeria, Cameroun and Mali will also be part of the sale.

A selection of these lots will be exhibited in Paris from 10 to 15 September, on the occasion of the event titled “Parcours des Mondes” (Around the World).

Allan Stone (1932-2006) started collecting African and Oceanic art while still a student in the early 1960s.
Stone spearheaded the movement of postwar art galleries featuring African and Oceanic artworks within the context of their contemporary art exhibitions. Already in the early years of his gallery career, he sought affinities between African and Oceanic Art and avant-garde Western artists. He juxtaposed paintings by artists such as Willem de Kooning, Franz Kline, Arshile Gorky, and John Graham with highly expressive African power figures from the Congolese Songye and Kongo peoples. Like the works by de Kooning and Kline, and also the sculptures of John Chamberlain, these sculptures in his personal collection are manifestations of an artistic vision that seeks to feature expressive energy through powerful accumulations of mixed media. Stone acquired the pieces to be offered over more than 40 years, purchasing from auction houses as well as the foremost dealers in the field. He became one of the most important collectors of his generation, and was a frequent bidder at early Parke-Bernet auctions in the 1960s. Stone also bought from all the leading galleries at the time, including John J. Klejman, New York; Merton D. Simpson, New York; Henri Kamer, Paris; Alain de Monbrison, Paris; Hélène and Philippe Leloup, Paris. The upcoming auctions of African, Oceanic, Indonesian, Pre-Columbian and Native American Art follow three Contemporary Art auctions of works from the collection of Allan Stone held in 2011, all of which exceeded their pre-sale high estimates, bringing over $68 million and setting numerous artists records. Heinrich Schweizer, Senior Vice President and Head of the African and Oceanic Art Department in New York commented: “Allan Stone’s collection of African, Oceanic, Indonesian, Pre-Columbian, and Native American Art represents the essence of his unique artistic vision. His deep understanding of the aesthetics of artists from primary cultures is mirrored by his visionary focus on the many postwar artists whose careers were made at the Allan Stone Gallery through the 1960s and 70s. Preserved in a time capsule for nearly 50 years, and highlighted in "The Collector: Allan Stone's Life in Art" (a film created by his youngest daughter Olympia Stone), the Stone Collection was created at a moment in time when Nelson Rockefeller and Dominique de Menil assembled their equally legendary collections, which are today housed at the Metropolitan Museum of Art, New York, and the Menil Collection in Houston. The Collection of Allan Stone is the last of these three historic collections to remain in private hands, and no other collection of comparable quality and depth has ever come to the market in the United States.” Jean Fritts, Senior Director and International Chairman of the African and Oceanic Art Department in London, adds: “This auction is a historic event, right in line with other landmark auctions in the field such as the Helena Rubinstein Collection sold at Sotheby’s in New York in 1966 and the Pierre and Claude Vérité Collection sold in Paris in 2006, both of which shaped the taste of entire generations of collectors. Allan Stone was a taste-maker and a visionary, and the long awaited sale of his collection presents a once-in-a-lifetime opportunity for private collectors and institutions around the world.” The Allan Stone Collection is most well-known for its strong holdings of Songye Power Figures and Kongo Nail Power Figures, from the Democratic Republic of the Congo, and is indeed the largest private collection in the world of these extremely rare works. Stone bought his first Songye Power Figure in the sale of the collection of Helena Rubinstein at Sotheby Parke-Bernet in 1966, and subsequently added over 40 more to his collection. Carved of wood in human or animal form, these sculptures were used in traditional central African ritual practice to harness spiritual forces for aid, protection, healing, or revenge. Sacred materials chosen for their mystical or metaphorical significance are applied or inserted into the figures, which thereby accumulated power; not unlike the accumulative sculptures by Joseph Cornell and the action paintings by Jackson Pollock. Several large-scale Songye figures in the collection feature particularly remarkable assemblages of materials, including the famous Songye Four-Horned Figure which was the centerpiece of the seminal exhibition Africa: the Art of a Continent held at the Solomon R. Guggenheim Museum in New York in 1996. Similarly, the Kongo Nail Power Figures bristle with nails, spikes, blades, and other metal implements inserted into their surfaces over the course of their long history of ritual use, attesting to their many successes. A particularly remarkable aspect of the collection is the original condition of the artworks. Unlike other early collectors who removed ritual material from the sculptures, Stone left the works untouched, and today the works in his collection often retain their original oily or crusty ritually-applied surfaces and rich arrays of various attachments.

Songye Community Power Figure, Democratic Republic of the Congo. Height: 31 inches (79 cm). In excess of $1 million Among the most famous works in the Stone collection is the Songye Community Power Figure, from the Democratic Republic of the Congo, featuring a striking array of four animal horns oriented to the cardinal directions atop the head. Widely published and exhibited, the Stone “Four-Horn” Songye was included in the landmark exhibition Africa: the Art of a Continent at the Solomon R. Guggenheim Museum in New York in 1996.

Kuba-Kete Figural Headcrest, Democratic Republic of the Congo Height: 62 inches (157.5 cm) Estimate: $700,000-1,000,000 Previously in the collection of Loed and Mia van Bussel in Amsterdam, this monumental and extremely rare Kuba-Kete Headcrest Figure from the Democratic Republic of the Congo is one of only three such figures known; the other two are in the Museum für Völkerkunde in Hamburg, Germany.

Songye Community Power Figure, Democratic Republic of the Congo Height: 35 ½ inches (90 cm) Estimate: $600,000-900,000 Previously owned by the great Parisian art dealer Charles Ratton, this large-scale Songye Community Power Figure from the Democratic Republic of the Congo is of a very rare “ringed-neck” type and is remarkable for its size, lively expression, and cubistically-rendered torso and arms. The highly influential German art historian Werner Schmalenbach selected this figure for his important publication Die Kunst Afrikas, first published in 1953. After World War II, as founding director of the Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Schmalenbach devoted himself to filling the gaps left in the German national collections by the omission of modern artists who had been declared “degenerate” under Nazi rule, working with art dealers such as Heinz Berggruen and Ernst Beyeler. Schmalenbach was no doubt attracted to the strong affinity of this great Songye figure with modernist sculptural aesthetics.

Kongo-Yombe Nail Power Figure, Democratic Republic of the Congo Height: 26 inches (66 cm) Estimate: $400,000-600,000 Particularly efficacious power figures had widespread reputations and were in high demand among Kongo clients; this exceptional Kongo-Yombe Nail Power Figure from the Democratic Republic of the Congo bristles with an extraordinary quantity of nails and metal implements, attesting to a long period of successful and repeated ritual use. Published in the landmark 1980 monograph Fétiches à clous du Bas-Zaïre, this figure was acquired by Josef Mueller before 1939, and was last on the public market in 1978. A major collector of Modern art and particularly Picasso, Mueller started collecting in the 1920s and his collection would form the core of the famous Barbier- Mueller Museum in Geneva. The figure is on a base by the Japanese wood artist Kichizô Inagaki (1876-1951), Paris.

Dogon Female Figure, Mali Height: 62 inches (157.5 cm) Estimate: $400,000-600,000 Acquired from Merton D. Simpson, this monumental Dogon Female Figure from Mali is of a distinctive archaic and extremely rare type. Other examples of similar scale and iconography are in major institutional collections, including the Metropolitan Museum of Art in New York, the Musée du Quai Branly in Paris, and the de Young Museum in San Francisco. The gesture of upraised arms is interpreted as an attempt to link heaven and earth, and possibly as a prayer for rain.

Kongo Nail Power Figure, Democratic Republic of the Congo Height: 22 ¼ inches (56.5 cm) Estimate: $150,000-250,000 This Kongo Nail Power Figure from the Democratic Republic of the Congo was collected in situ before 1903 by Robert Visser, and given to the Museum für Völkerkunde, in Leipzig, Germany. After being deaccessioned, it passed to the hands of two legendary dealers, first Everett Rassiga and then Merton D. Simpson. The state of preservation of this sculpture is exceptional, with the surface covered in white kaolin, multiple metal blades inserted into the body and all power charges intact: a recently discovered drawing in the inventory of the Leipzig Museum reveals that the figure has remained untouched since it was collected in situ, with both the charge on the head and the mirrored charge on the abdomen still present as they were more than one hundred years ago.

Songye Power Figure, Democratic Republic of the Congo Height: 21 ¼ inches (54 cm) Estimate: $150,000-250,000 Collected in situ in the 1930s by the German Ethnographer Hans Himmelheber, this highly cubistic Songye Power Figure from the Democratic Republic of the Congo is of an early, highly refined style which derives from the region bordering the Luba Kingdom. This rare style is characterized by an elegant, sensuous face and balanced overall form. Stone acquired the work from Merton D. Simpson, New York. The figure features a very rare geometric four-plaited coiffure, and the original surface of ritually-applied oil.

Ejagham Headcrest, Cross River Region, Nigeria Height: 27 inches Estimate: $100,000-150,000 This impressive Ejagham Headcrest from Southeastern Nigeria near the Cross River is distinguished by its spectacular and highly stylized coiffure made of great curling “braids”. Covered in animal skin, these expressive headcrests were owned and used by the important membership associations in Ejagham society and were worn during important ceremonies such as funerals or initiations.

Attie Female Figural Post, Ivory Coast Height: 43 ¾ inches (111 cm) Estimate: $120,000-180,000 Among the rarest of Ivory Coast art are the highly refined sculptures from the Attie people of the Lagoons region. This large-scale, superbly carved Attie Female Figural Post was acquired from Merton D. Simpson, New York, and features an extremely fine layered crusty ritual patina. The coiffure relates to two smaller examples in European public collections, one in the Musée d’Art Moderne de la Ville de Paris, and the other in the Musée Royal d’Afrique Central, Tervuren. However, no other Attie post-figure of comparable quality is known, rendering the Stone figure a unique example.

The legendary contemporary art dealer Allan Stone acquired his first African artwork in 1955, and over the next 50 years built one of the most important private collections in the world of arts from primary cultures. Many of the works offered have been featured extensively in museum exhibitions and important publications.  The collection is best known for its strong holdings of Songye Power Figures and Kongo Nail Power Figures from the Democratic Republic of the Congo, and is the largest private collection in the world of these extremely rare works.  Other highlights include an ancient Proto-Dogon Female Wood Figure from Mali, dated circa 900-1030 AD, a monumental Kuba-Kete Figural Headdress from the Democratic Republic of the Congo which is one of only three known and the only one remaining in private hands.  The sale will also feature an exceptional selection of rare Oceanic and Indonesian artwork.

TOTAL VENTE: 11,489,750 USD


Foreword by Fr. Michael Moran, SMA, Provincial Superior, American Province President, Board of Trustees, SMA African Art Museum
Guide to Collections – Volume I
African Art Museum‎
It is my great pleasure to welcome you to the African Art Museum’s first publication in cyberspace. Guide to the African Collections of the American Province of SMA will be published on in six volumes. The first in the series – I. The West Guinea Coast: Liberia, Sierra Leone, Ivory Coast, Guinea and Guinea Bissau, – is now on the web site and will be available in hard copy in July, 2012. II. Burkina Faso, will also be published in both modes in 2012, as will III.The Gold Coast: Ghana, Benin, Nigeria, Cameroon, in 2013; IV. Central Africa: Gabon, Chad, Democratic Republic of Congo, Central African Republic, in 2014; V. The Sahel: Mali, Niger, Chad, Sudan, in 2015; and finally, VI. East and South Africa: Ethiopia, Kenya, Tanzania, South Africa, in 2016.

Carol Messer, Executive Director, and Gregory Lucente, Arts Outreach Coordinator, Bergen County Department of Parks, Division of Cultural and Historic Affairs, have been patient and supportive throughout the delays and frustrations inevitable in a project like this one. I express warm appreciation to our donors who have contributed so many fine works of art to our West African collections. To our museum staff and volunteers we extend blessings for all the great work they have done since the museum had its beginnings in 1965. For their labors on this publication I single out Robert J. Koenig, Director of the SMA African Art Museum, Peter H. Cade, Assistant to the Director, Prof. Charles Bordogna of Bergen Community College, Bill Siegmann, former Curator of Collections, SMA African Art Museum, and Martha Paladino, General Manager.We especially salute Audrey Koenig for the crucial supportive role she has played as a volunteer in the management of the African Art Museum collections for over fifteen years.

The SMA and the African Art Museum have enjoyed a cordial business relationship with Galvanic Printing and Plate Co., Inc., for years, but the Guide to Collections has been our happiest collaboration to date. Bob gave John Moss, Jr., President of Galvanic, a design philosophy to work with, but the page by page layout as well as the pervasive clarity, balance and refinement of this book are due to the hard work, skill and vision of three Galvanic staff members: Paul Ragas, Graphic Development Manager, Peter Ruiz, Media Specialist and Jeff Herzog, Color Specialist.

Funding for this publication has been made possible in part by the New Jersey State Council on the Arts/Department of State, through grant funds administered by the Bergen County Department of Parks, Division of Cultural and Historic Affairs.


A special Gallery exhibition on the Dan Complex, an ethnic group in north-eastern Liberia and Côte d'Ivoire.
This exhibition is produced in conjunction with Sebastian Fernandez, Director of Galerie Fernandez Levental.
at East 81st Street 303. New York, NY 10028


Secrets d'ivoire L'art des Lega d'Afrique centrale
du mercredi 13 novembre 2013 au dimanche 26 janvier 2014
Quai Branly


Elisabeth L. Cameron, maître de conférences en histoire de l’art et culturelle visuelle

autour de l'exposition

visites, catalogue et événements autour de l'exposition

« Laissez-moi lui expliquer les murmures des enseignements. » – proverbe Lega

Cette exposition met en lumière l'impressionnante collection d'art lega constituée par le physicien Jay T. Last, qui en a généreusement fait don au Fowler Museum at UCLA. Les volumes abstraits et les formes simplifiées de cette tradition artistique, l’une des plus importantes d’Afrique centrale, frappent par leur inventivité et leur élégance. L'art joue un rôle fondamental pour les Lega de la République Démocratique du Congo, en tant que symbole de réussite, outil d'apprentissage et de commémoration des morts.

Ces œuvres d'art, raffinées et élégantes, font partie intégrante de la société initiatique Bwami, et sont utilisées pour enseigner des leçons de morale et d'éthique. Associées au langage (proverbes) et à l’expression corporelle (mime, danse), les œuvres d'art composent des phrases visuelles : les idées qu'elles véhiculent expriment les valeurs de la société lega, et ses idéaux.

Les artistes lega créent des formes singulières et étonnamment novatrices, tout en respectant des codes esthétiques strictement définis. Afin de souligner cette diversité artistique, l'exposition présente une grande variété d’oeuvres dans une large gamme de styles : chapeaux en coquille de moules, colliers en dents de léopard, cuillères d'ivoire, ceintures de cauris, masques et personnages sculptés dans le bois ou l’ivoire.

L'exposition présente ces objets en tant qu'œuvres d'art ; seuls quelques accrochages donnent à voir le contexte de présentation originel des objets. Des proverbes accompagnent ces œuvres, pour montrer la puissance du lien entre visuel et verbal dans l'art lega : les objets et les mots prennent sens à travers un langage symbolique. Comme de nombreux peuples africains, les Lega associent beauté et vertu morale, ce qui permet aux Bwami d’enseigner les valeurs morales, sociales et politiques au travers d’œuvres d’art exceptionnelles.

book available in 2013  35 Euro



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New York
Songye female Kifwebe mask


Lucas Ratton
Primitive art
The Salon - Art+design
New York
November 14-18


Salle des ventes de Chinon - Chinon
Vente Art Africain & Océanien
Vente aux enchères du Samedi 16 novembre 2013


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Vente aux enchères du Lundi 18 novembre 2013
Vente Collection Yves Créhalet – Un regard poétique
Thème(s) de la vente : Sculptures, Arts Premiers, Art Aborigène
Enchères Rive Gauche - Paris


21, 22 & 23 November 2013, twenty-one galleries (all located at the Sablon in Brussels) will present a thematic exhibition during Thema Sablon III.
The themes:

Booklet printed new with photos available from for 1 Euro





Nicolas Rolland​
Arts primitifs



ZEMANEK-MUNSTER: 75th Tribal Art auction
in Würzburg
November 30th 2013


Edith Mbella Gallery présente l'exposition Camerün dans sa galerie à Madrid.
Vernissage le 3 décembre. — at Edith Mbella Gallery.


Maison de l’Artisanat et des Métiers d’Arts 21, Cours d’Estienne d’Orves - 13001 Marseille - France
Tel : +33(0) – Fax : +33(0)
Entrée libre
Cette exposition à l'initiative d'André Mamberti-Diaz, collectionneur, aurait entre autre, pour ambition de montrer ce que le génie créateur de l’homme africain, tibétain, américain, océanien, chinois ou japonais, qu’il soit artiste ou artisan, dans le cadre de son environnement naturel, hostile ou non, peut développer dans un espace presque toujours identique : à savoir ses rapports aux dieux, aux forces tectoniques ou simplement ses rapports au village, à sa société ou pour répondre aux exigences pratiques de la vie de tous les jours. Les notions d’objet d’art, d’artiste ou d’artisan, assez bien codifiée dans les cultures européennes ou occidentales, reste beaucoup plus floue voire inconnue dans d’autres cultures mondiales


dimanche 8 déc. 2013
2, rue du Docteur Leray 95880 ENGHIEN
Goxe-Belaïsch EMail : Tél. : 01 34 12 68 16


*sold in 2014 for 9 Euro
*xps including small photos of the objects
*results as PDF file
Vente AuctionArt - Rémy Le Fur & Associés
Vente aux enchères du Lundi 9 décembre 2013
56 pp.
printed in high quality
Art Africain, Sculptures

available on Ebay in 2014  10 Euro


*xps of printed catalogue
*xps of html catalogue
Art d'Afrique
African, Oceanic and American Indian Art auction


*pdf with results
*results as pdf file
December 11, 2013
Sale Number PF1318
Paris sales
76, rue du Faubourg Saint-Honoré CS 10010 75384 Paris CEDEX 08 France
120 pp.
glossy color photos
Fon makpo

available like new with a printed list of results from for 29 Euro


*html without results
Koller Auktionen
Hardturmstrasse 102 8031 Zurich
Auction: Geneva, 11 December 2013, 10:00 AM
Expert: Jean David Galerie Walu, Zurich
Koller Geneva 2, rue de l'Athénée 1205 Geneva
See more at:


At Auction: Friday, December 13th
To Bid By Phone or Absentee, Call (313) 963-6255

To Bid Live By Computer

DuMouchelle Art Galleries
409 East Jefferson Detroit, MI 48226 (313) 963-6255 Fax: (313) 963-8199


Art Africain : Collection de Monsieur C.
Artcurial Lyon
14 décembre 2013


Marc Assayag


Marc Assayag
New York


Marc Assayag
Gallery highlights


Samedi 14 décembre à 14h30 à Bergerac
Lieu de vente Maître Aurèle BIRABEN 40 cours Alsace Lorraine 24100 Bergerac
Contact : Tél. : 05 53 58 57 51 Fax : 05 53 57 16 67
Art d'Afrique - Océanie - Amérique : 400 pièces dont 200 Pièces issues de 3 collections françaises et diverses
158 lots illustrés


Masques Bete
150 copies printed


Bernard de Grunne
The Lega inhabit a forested area of irregular polygonal shape of the Kivu region of the eastern part of the Democratic Republic of Congo, and number about 225,000 individuals. Although the Lega are not organized into a state system, their sense of historical and cultural unity rooted in a common language, common historical experiences, common genealogical charts and a common set of basic institutions and values is very strong. The Lega form a stateless society. There are no hereditary chiefs. The relatively simple segmentary lineage system, however, is complicated by the hierarchically organized bwami association, whose authority and power are widespread.


Maîtres Alain CASTOR & Laurent HARA

lundi 16 décembre 2013


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