African and Oceanic Art 28 January 2014 Brussels Lempertz Auction

Transcription

African and Oceanic Art
28 January 2014 Brussels
Lempertz Auction 1025
African and Oceanic Art
28 January 2014 Brussels
Lempertz Auction 1025
Preview
Brussels
Wednesday 22 – Saturday 25 January, 10 am – 6 pm
Sunday 26 January, 11 am – 4 pm
Monday 27 January, 10 am – 6 pm
Tuesday 28 January, 10 am – 11 am
Sale
Brussels (new building)
Tuesday 28 January 2014
2 pm
Grote Hertstraat 6 rue du Grand Cerf 1000 Brussels Belgium
T +32.2.5140586 F +32.2.5114824
brussel@lempertz.com
Neumarkt 3 50667 Cologne Germany
T +49.221.925729-0 F +49.221.925729-6
info@lempertz.com www.lempertz.com
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A NORTHWEST COAST HORN SPOON
AN ANYI FEMALE FIGURE
Northwest Coast of America
Ivory Coast/Ghana
The mountain goat horn handle carved with a crouching
animal with forelegs on chest above a human mask, secured
to the horn bowl with copper pins, iron ring to tip of handle
Seated on a stool with the hands joined on the lap,
ringed neck and scarified cheeks, metal anklets, dark
patina.
23 cm. long
46 cm. high
€ 1 500 – 2 000
€ 1 000 – 1 200
2
A MASSIVE AKAN BRASS ANKLET
Ivory Coast
Of ovoid form with conical projection to one side, a central
band of rope-work and panels of geometric ornament cast
in relief.
26 cm. long
€ 800 – 1 200
2
5
A BWA BUFFALO MASK
Burkina Faso
4
The curved horns forming a circle, carved geometric
ornament painted in white, black and red.
56 cm. high
A FANTI DRUM
Ghana
The female figure support with arms carved free
of the body, ringed neck and blackened coiffure,
wearing red bead waistband, the cylindrical drum
above with animals and plants carved in shallow
relief on a carved ground, the hide membrane
retained with wood pegs.
100 cm. high
€ 3 000 – 5 000
€ 1 000 – 1 500
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7
A BAULE MALE FIGURE
A BAULE FEMALE FIGURE
Ivory Coast
Ivory Coast
Standing with arms in relief, the hands on the
abdomen, the elaborate coiffure with plaits at the
back of the neck, neatly dressed beard, scarification about the face and neck, white bead necklace, rectangular base, dark glossy patina.
Standing with the arms in relief and the hands
on the abdomen, the incised median-crested
coiffure with three ridges behind each ear, scarified
temples, cheeks and neck, blue beads about the
neck, on rectangular base, dark glossy patina
51 cm. high
42 cm. high
Provenance
Provenance
Gertrud Duebi-Müller, Solothurn
Sotheby’s London, 2 December 1980, lot 163
Ludwig Bretschneider, Munich
Robert Stolper, Munich
€ 5 000 – 8 000
€ 2 000 – 3 000
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A BAULE MALE FIGURE
Ivory Coast
Ivory Coast
Standing with the arms in relief and the hands on
the abdomen, scarification on the chest, neck and
back, the coiffure in four incised ridges forming a
cross with central knop, a gold nugget suspended
on cord about the neck, dark glossy patina.
Standing with the arms in relief and the hands
on the abdomen, scarification about the torso,
back, neck, temples and cheeks, median-crested
coiffure with braided border, on domed circular
base, dark glossy patina.
39.5 cm. high
40.5 cm. high
€ 3 500 – 4 000
€ 3 000 – 5 000
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12
A TENENKOU TERRACOTTA
ZOOMORPHIC FIGURE
A MAOU MASK
Mali
Modelled as a quadruped standing on four thick legs,
a modeled collar about its neck, red slip.
44 cm. long
Cf. Schaedler, K.-F., Earth and Ore, 2500 Years of African
Art in Terra-cotta and Metal, Munich, 1997, p.63, fig.75
Ivory Coast
The long pierced beak with central band of
pyramidal projections, the hemispherical head
with carved horns and surmounted with a mound
of fetish material with fibre and cloth and inset
with animal horns, black encrusted patina.
90 cm. long
€ 2 000 – 3 000
€ 3 000 – 5 000
11
A TENENKOU TERRACOTTA
ZOOMORPHIC FIGURE
Mali
Modelled as a quadruped seated in a vertical position
with its head looking upwards, modeled collar about
its neck, red slip.
36 cm. long
€ 3 000 – 5 000
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13
A BWA PLANK MASK
Burkina Faso
The circular face with the eyes as concentric
circles, the pierced lozenge-shaped mouth
with carved teeth, a horn-like projection above
curving down in front of the face, the tall shaped
rectangular superstructure carved all over on front
and back with checkerboard design in white and
black.
198 cm. high
Exhibited
Museum für Völkerkunde, Vienna, Götter Geister
Ahnen, March to July 1994, no.217.
Literature
Schaedler, K.-F., Götter Geister Ahnen Afrikanische
Skulpturen in deutschen Privatsammlungen im
Museum für Völkerkunde Wien, Munich, 1994, p.7,
fig.217.
€ 8 000 – 12 000
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16
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A DAN MASK
A DAN MASK
Ivory Coast/Liberia
Liberia\Ivory Coast
With pierced lozenge mouth and pierced
slender eyes, beard of human hair below
the chin, plaited fibre coiffure, dark glossy
patina.
The triangular face with two teeth in the
mouth, a white painted band across the
pierced eyes, the coiffure as two incised
braids on the forehead, grooves about the
border, white bead earrings, dark patina.
23 cm. high
Provenance
Hans Schneckenburger, Munich.
23 cm. high
Provenance
Maria Wyss, Basel.
€ 4 000 – 6 000
€ 3 000 – 5 000
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17
A BAULE GONG BEATER
A DAN MASK
Ivory Coast
Ivory Coast
With spiral handle and carved animal
head behind the crescent-shaped beater,
carved in relief on one side with a serpent
devouring a quadruped, dark glossy
patina.
With aluminium borders to the pierced
eyes, median ridge to forehead, pierced at
the centre of the slightly parted lips, dark
glossy patina.
24 cm. high
23.5 cm. long
€ 3 000 – 5 000
€ 500 – 800
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17
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18
A DAN MASK
Ivory Coast
The face with slender pierced slit eyes, a vertical
ridge in relief on the forehead, the mouth with
slightly parted lips with inset metal teeth, dark
glossy patina.
24.5 cm. high
Provenance
Emil Storrer, Zurich
€ 5 000 – 8 000
19
A BAULE FAN
Ivory Coast
The lozenge-shaped handle terminating in a
Janus horned buffalo head, circular hide fan, dark
glossy patina.
36 cm. long
€ 1 000 – 1 500
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20
A DJENNE TERRACOTTA FIGURE
Mali
20
The male figure seated with knees drawn up, his right
hand holding a sceptre on his knee in the form of an
arm with hand finial, the left hand holding his projecting tongue.
34 cm. high
Literature
Terres cuites de la boucle du Niger, Djenné et alentour,
Paris, Galerie Leloup, September 1986, p.19, no.24.
Sold with a 1993 certificate from Alliance-Science-Art
dating the terracotta to 590 years +/- 60 years.
€ 1 000 – 1 500
21
A BANKONI TERRACOTTA HALF FIGURE
Mali
The female figure with domed eyes and stippled coiffure and torso.
45.5 cm. high
Literature
Terres cuites de la boucle du Niger, Djenné et alentour,
Galerie Leloup, Paris, September 1986, p.46, no.78.
dating the terracotta to 390 years +/- 55 years.
€ 800 – 1 200
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A NYONYOSI STONE HALF FIGURE
A BAMBARA POWER FIGURE
Burkina Faso
Mali
The flat circular face with broad mouth, grooved
coiffure, the arms akimbo
Boli, for the Kono society, of zoomorphic form, the
rounded body with large hump at the shoulders,
on four legs, thick encrusted sacrificial patina.
14 cm. high
47 cm. high
€ 300 – 500
Provenance
Galerie Leloup, Paris
€ 5 000 – 8 000
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24
A BAULE MALE FIGURE
Ivory Coast
25
Standing with the arms carved free of the body, the mediancrested incised coiffure with a small lobe behind each ear, bands
of scarification on the long neck, dark glossy patina
26
41 cm. high
TWO AKAN FETISH GOLD AREFACTS
Provenance
Ivory Coast
Private collection, Munich
€ 3 000 – 5 000
A bracelet with finely cast geometric ornament;
and a four-legged stool with rectangular seat.
7.5 and 4.5 cm. high
25
A BAULE MALE FIGURE
Ivory Coast
Standing with the arms in relief to the sides, the incised coiffure
with lateral ridge and lobe at the back with plait falling down the
nape of the neck, scarification on the torso, back, abdomen and
neck, white bead anklets, on circular base, dark glossy patina.
41.5 cm. high
Provenance
Lucien Van de Velde, Antwerp
Piet Blanckaert Gallery, Knokke
€ 4 000 – 6 000
€ 1 000 – 1 500
27
FOUR AKAN FETISH
GOLD ORNAMENTS
Ivory Coast
Each with openwork cast filigree ornament: one
a crescent with highly stylized mask in relief;
another composed of four linked ovals; another of
lenticular form; the last circular.
27
7 to 11.5 cm. long
€ 2 000 – 3 000
28
SIX AKAN FETISH
GOLD ORNAMENTS
Ivory Coast
Each with cast filigree ornament: a large crescent;
a smaller crescent with openwork centre; another
in the form of a stylized ram’s head; a crescent
with mask at the centre; a triangular pendant with
mask; and one of ovoid openwork form.
28
5 to 14.5 cm. long
€ 2 000 – 3 000
29
FIVE AKAN FETISH
GOLD ORNAMENTS
Ivory Coast
Each with cast filigree ornament: two cast as stylized ram’s heads, one with mask at the centre; a
crescent with central mask; one of lenticular form;
the last as four ovals joined to form a ring.
29
4.5 to 11 cm. long
€ 2 500 – 3 000
30
FIVE AKAN FETISH
GOLD ORNAMENTS
Ivory Coast
Two cast as masks; another of openwork circular
form; a crescent; the last of lozenge form.
5 to 12 cm. long
€ 3 000 – 4 000
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A PAIR OF BAMBARA PUPPETS
Mali
Merekun, male and female, each with the head covered in brass
panels, the male with hair lashes, the female with the coiffure in braids
to each side of the face and with attached brass discs, three ridges in
high relief at the back, bulbous breasts, each on rectangular post, dark
patina with some erosion to the bases.
77 cm. and 89 cm. high
Cf. Colleyn, J.-P., Bamana, the Art of Existence in Mali, p.90, cat.65 and 66,
for a similar pair of figures attributed to the Segou region.
€ 4 000 – 4 500
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33
A SENUFO MASK
A GURO MASK
Mali/Ivory Coast
Ivory Coast
Kpelie, the slender face with pierced slit eyes and rectangular
mouth, shaped projections and horns to each side, curved and
incised horns flanking a vertical central horn, black patina.
37.5 cm. high
The sensitively carved face with carved teeth in the open mouth,
engraved and coloured arcs about the pierced slit eyes, triple
scarification marks in relief of the forehead, cross-hatched hairline,
curved horn-like plaits above, dark glossy patina with red and
white painted embellishments.
€ 2 000 – 3 000
29 cm. high
Provenance
This fine mask represents Gu, the beautiful female who appears
together with the zamle mask. However, she is not human but
a creature of the forest. In Guro: Masks, Performances and Master
Carvers in Ivory Coast, (Zurich, 2008, p.222), the author states that
Tra bi Tra of Bogopinfla distinguishes three type of Gu face masks.
The present mask appears to be Glawone gu, distinguished by its
braids resembling ram’s horns. The open mouth is said to indicate
that gu is “smiling”.
€ 5 000 – 8 000
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35
Ivory Coast
Ivory Coast
Standing with arms carved free of the body and
the hands on the abdomen, the elaborate multilobed coiffure with three plaits at the back, scarification to the face, chest torso and back, a metal
anklet about each ankle, on ridged circular base
Standing with the arms free of the body and the
hands to the sides, scarification about the face
and neck, the incised coiffure with two lobes and
two plaits, dark patina.
41.5 cm. high
Provenance
Robert Stolper, Munich
48 cm. high
Provenance
Harvey Menist, Amsterdam
Jacques Hautelet, Brussels
Marc de Monbrison, Paris
€ 4 000 – 6 000
€ 3 000 – 5 000
36
A SENUFO FIGURE
Mali/Ivory Coast
Tugubele, the standing female with the arms free
of the body and the hands to each side of the
navel, the coiffure carved as four plaits with central median ridge, hatched scarification about the
navel and upper breasts, armlets in relief on the
upper arms, on circular base, dark oily patina.
30 cm. high
Provenance
Philippe and Lisa Laeremans Gallery, Brussels
Sando’o is, after Poro, the most important society
among the Senufo. Its members, who are mostly
women, are responsible for the moral behaviour
of members of their extended families. Sando’o
is also the name given to those members of the
society who perform divination. Connected with
divination is the belief in the existence of bush
spirits or tugubele. Those spirits with which a
diviner is familiar are given an anthropomorphic
representation in wood or bronze. Like humans,
tugubele are believed to live as couples and are
therefore most often represented as a pair of
standing human figures. In rare cases when only
one figure is carved, the spirit may be represented
as seated. The carving or casting of these figures
symbolises the bond between the diviner and his
or her helping spirit, a bond which is maintained
through regular libations and sacrifices to ensure
the spirit’s continued help.
€ 10 000 – 15 000
37
38
37
A DAN GUERE MASK
Ivory Coast
With pierced circular eyes, the prominent lips pierced for insertion
of teeth, a band of carved antelope horns across the forehead,
pierced rectangular holes about the border, fine dark glossy patina.
21 cm. high
39
Cf. Fischer, E. and Himmelheber, H., The Arts of the Dan in West Africa,
Zurich, 1984, p.57, figs.62-64, for similar masks described as Bagle,
an entertainment mask, prevalent amongst the Western Dan.
€ 4 000 – 6 000
38
A GUERE/KRAN MASK
Ivory Coast
With prominent tubular eyes, a band of carved
antelope horns above, semi-circular panels to
each side of the face, the lower jaw missing, dark
encrusted patina.
25 cm. high
€ 1 000 – 1 500
39
A NALU MASK
Guinea Bissau
With two carved small horns at the junction of the
long flared snout and the central cap, the curved
horns above joined at the tips, cross-hatched
ornament, weathered surface.
99.5 cm. long
€ 1 800 – 2 000
40
A BOBO MASK
Burkina Faso
The rectangular face with painted triangles in
black, white and reddish brown, the domed top
of the head with central median crest, two tall
horns above.
137 cm. high
Provenance
Johan Henau, Antwerp
Hans and Trudy van Witteloostuijn, Delft
Exhibited
Brussels, Studio 44, Haute-Volta , September, 1973.
Literature
Kamer, H., Haute-Volta, Brussels, 1973, p.24, no.2
€ 5 000 – 8 000
42
A RARE TEMNE MASK
Central Sierra Leone
A-Ròng-a-Thoma, carved as the head of a hippopotamus with large flared nostrils flanking a central
ridge, the open jaws below with pierced row of
teeth, curved and grooved horns above, remains of
red, white and black pigments.
39 cm. long
Provenance
Emile Deletaille, Brussels
Frederick Lamp (in “The Royal Horned Hippopotamus of the Keita of Temne: A-Ròng-a-Thoma” in Yale
University Art Gallery Bulletin, 2005, pp.37-53) writes
at length about these rare masks. Called A-Ròng-aThoma they were made exclusively by the Temne
living in the town of Yele in central Sierra Leone. The
masking tradition was owned exclusively by the
Kanu royal family in Yele and was the responsibility of the ritual king-making association, Ragbènle,
an association whose membership was restricted
to paramount chiefs and their advisors. Although
only made in Yele, the mask travelled throughout
southeastern Temneland, in the areas controlled by
the Ragbènle association who charged expensive
fees for the right to hold a performance.
Although the form of the mask strongly resembles a
hippopotamus, the presence of ram’s horns indicate
that it represents a water spirit rather than an animal
from the physical world. These spirits were responsible for the welfare and safety of the community and
the success of the harvest, especially rice.
The A-Ròng-a-Thoma mask is the most important
of the spirits represented in masks of the Ragbènle.
It appears annually in Yele at the beginning of the
dry season and at other important ceremonial occasions such as the coronation of a paramount chief.
Some of the songs which accompanied the mask’s
appearance are of a sexual nature, and imply that
the masked dancer will advance himself sexually as
a result of his performance.
41
A SENUFO FEMALE FIGURE
Mali
Standing with the arms in relief to the sides, heartshaped face and smooth rounded top of the
head, dark patina with traces of kaolin.
Lamp illustrates a photograph taken in the village
of Maka by Northcote Whitridge Thomas, a British
government anthropologist who conducted field
research in Sierra Leone in 1914-15. It shows two
A-Ròng-a-Thoma masks, similar to the present lot,
alongside one of the other accompanying Ragbènle
spirit masks.
Lehuard, R., “La collection William Brill”, in Arts
d’Afrique Noire, no.26, Arnouville, 1978, p.19.
In addition to the Yale mask which was in Harry Beasley’s Cranmore Museum before 1938, Lamp also
illustrates two of the few other known examples
of the A-Ròng-a-Thoma mask; one in the Fowler
Museum of Cultural History (X81.227), formerly
in the Barry Kitnick collection; and another in the
Manchester Museum (0.878). Another in the British
Museum (Af1969,05.1) was acquired from Ernest
Ohly in 1969.
€ 1 500 – 2 000
€ 15 000 – 20 000
68 cm. high
Provenance
William W. Brill, New York
Sotheby’s New York, 17 November 2006, lot 15.
Literature
43
44
43
44
A LANDUMAN MASK
A DOGON PULLEY
Guinea Bissau
Mali
Tonkongba, carved as a stylized animal’s head with long snout,
the curved horns joined at the tips, stippled and cross-hatched
ornament, the eyes inset with brass tacks, dark patina.
Carved as a standing figure with hands on thighs,
the head with tall median cross-hatched coiffure,
dark glossy patina.
80 cm. long
23 cm. high
Provenance
€ 200 – 300
Roger Budin, Geneva
€ 5 000 – 8 000
45
A DOGON DOG
Mali
Carved geometric ornament on the belly,
thick encrusted patina.
24 cm. long
€ 1 000 – 1 500
45
46
A DOGON MATERNITY FIGURE
Mali, Tintam Region
The naked female kneeling holding the child
against her thighs, cap-like tripartite coiffure,
wearing korte necklace, scarified breasts, dark
glossy patina.
55 cm. high
Provenance
Pierre Dartevelle, Brussels
Philippe Ratton, Paris
Michel Gaud, St-Tropez
Literature
Dogon, Galerie Ratton Hourdé, Paris, 2005,
pp.54/55.
Cf. Leloup, H. et al., Dogon Statuary, Strasbourg,
1994, no.106, for a similar figure. The author
states that the figure kneels in a position of
respect and offers her child to a superior authority, either to the family altar to demonstrate her
fertility or to the chiefs of the ginna during the
naming ceremony for the future chief of the
lineage.
€ 10 000 – 12 000
47
48
49
47
A CHAM TERRACOTTA VESSEL
Nigeria
The ovoid vessel modeled with conical projections and surmounted by a stylised figure.
38 cm. high
Cf. Shaedler, K.-F., Earth and Ore, 2500 Years
of African Art in Terracotta and Metal, Munich,
1997, p.271, figs.524-529, for similar vessels. The
author explains that they were used for soothsaying, healing diseases, protecting unborn
children and ensuring their safety until puberty.
€ 800 – 1 200
48
A DJENNE TERRACOTTA
HORSE AND RIDER
Mali
The bearded rider with head turned upwards,
wearing large disc armlets, a quiver on his back.
27.5 cm. high
Provenance
Bernard de Grunne, Brussels.
Literature
De Grunne, B., Terres cuites anciennes de l’ouest
Africain, Louvain-la-Neuve, 1980, p.5, fig.1
centre.
€ 800 – 1 200
49
A DJENNE TERRACOTTA FIGURE
Mali
The seated figure with the left elbow resting
on the left knee, a quiver attached to the upper
arm, a large pendant on cord in relief about the
neck, finely modeled costume about the lower
body.
28.5 cm. high
Literature
Terres cuites de la boucle du Niger, Djenné et
alentour, Galerie Leloup, Paris, September, p.26,
no.38.
50
A DAN MASK
Ivory Coast
With white painted band about the pierced
slit eyes, pointed chin below the lozengeshaped mouth, the elaborate cloth headgear
with bands of coloured glass beads and a
stone amulet, fine dark glossy patina.
23.5 cm high
Provenance
Sold with a 1994 certificate from AllianceScience-Art dating the terracotta to 670 years
+/- 45 years.
Dr George W. Harley, Cambridge, Massachusetts
Paul Rabut, Westport, Connecticut
€ 1 500 – 2 000
€ 8 000 – 10 000
52
A DAN MASK
Ivory Coast
With pierced circular eyes, the lozenge-shaped mouth with parted
lips, the elaborate coiffure composed of multiple fibre plaits and
strands, dark glossy patina.
51
A BAULE HORSE AND RIDER
27 cm. high
Provenance
Lempertz Brussels, 23 February, 1991, lot 49
Ivory Coast
The female rider with multi-lobed coiffure, scarification on the face, neck and back, her right hand
holding the reins and her left holding a quirt over
her shoulder, the diminutive horse on domed
circular base, dark glossy patina.
38 cm. high
Provenance
Boris Kegel-Konietzko, Hamburg
€ 4 000 – 6 000
€ 2 000 – 3 000
53
A BAULE FIGURE
Ivory Coast
The standing female with arms in relief on the body, scarified cheeks,
bifurcated coiffure, ringed neck, gold pendants about the neck, dark
patina.
46 cm. high
Provenance
54
A SENUFO HORSE AND RIDER
Mali/Ivory Coast
€ 1 000 – 1 500
Syonfolo, the rider with conical cap and holding remains of a staff
in one hand, the other holding the reins, scarification to cheeks and
temples, glossy black patina.
29.5 cm. high
Provenance
Jean-Baptiste Bacquart, London
€ 4 000 – 6 000
56
55
A LOBI FIGURE
Burkina Faso
The long arms carved free of the long torso, the face
with carved teeth in the parted lips, large wide eyes
with brows in relief, cap-like coiffure, dark patina.
70 cm. high
€ 5 000 – 8 000
56
A LOBI FIGURE
Burkina Faso
Standing with the arms free of the body, tall domed
head with the features in high relief, dark glossy patina.
39 cm. high
Provenance
Boris Kegel-Konietzko, Hamburg
€ 1 500 – 2 000
55
57
57
A LOBI MALE FIGURE
Burkina Faso
The arms carved free of the body, the face with large domed
eyes, the brows in relief, smooth coiffure, dark glossy patina.
51 cm. high
€ 4 000 – 6 000
58
A LOBI MALE FIGURE
Burkina Faso
Bateba, the arms carved free of the body, the face with
naturalistic features, smooth coiffure, prominent abdomen
and buttocks, weathered patina with erosion to the legs.
88 cm. high
Cf. Meyer, P., Kunst und Religion der Lobi, Zurich, 1981, p.58,
fig.3.
€ 8 000 – 12 000
58
61
62
59
A BANKONI TERRACOTTA FIGURE
Mali
The standing female figure with stippled coiffure and conical projection from the top of the head, a necklace modeled about the neck.
59
54 cm. high
Literature
Terres cuites de la boucle du Niger, Djenné et alentour, Galerie Leloup,
Paris, September 1986, p.42, no.72.
Sold with a 1990 certificate from Alliance-Science-Art dating the
terracotta to 350 to 460 years +/- 15%.
€ 1 000 – 1 500
60
A NIGER OR CHAD TERRACOTTA HEAD
Of cylindrical form, with features in high relief, cap-like coiffure,
dark patina.
30.5 cm high
€ 800 – 1 200
61
A DOGON FIGURE
With dressed beard, arrow-shaped nose, domed eyes and crenelated
coiffure, the arms in relief with the hands joined on the abdomen,
encrusted patina.
20 cm. high
€ 600 – 800
60
63
64
62
Provenance
A LOBI FIGURE
Exhibited
Burkina Faso
The Janus head with median crest, prominent
pectorals and arms in relief, dark patina.
21.5 cm. high
€ 1 200 – 1400
Peter Loebarth
Josef-Haubrich-Kunsthalle, Cologne, Wahre
Wunder. Sammler und Sammlungen im Rheinland,
5 November 2000 – 11 February 2001.
€ 4 000 – 6 000
64
A LOBI FIGURE
63
A LOBI FIGURE
Burkina Faso
The male figure standing with the arms carved free
of the body, the face with finely carved features
and cap-like coiffure, prominent domed navel, dark
patina.
57 cm. high
Burkina Faso
The male figure standing with the arms carved
free of the body, the smooth coiffure with central
median ridge and triangular projection at the
nape of the neck, dark patina.
46.5 cm. high
Provenance
Peter Loebarth
€ 3 000 – 5 000
67
65
65
A YORUBA FIGURE OF A BEARDED
PRIEST
Nigeria
Standing with hands clasped in prayer, wearing
chasuble, a crucifix about his neck, painted in
colours.
40 cm. high
Provenance
Ernst Anspach, New York
Exhibited
Washington, DC, The Stranger Among Us, National
Museum of African Art, March-September 1982,
no.39.
Literature
Stevenson, M. and Graham-Stewart, M., The
Mlungu in Africa, Art from the Colonial Period, 18401940, 2003, p.92.
€ 800 – 1 200
66
A YORUBA CEREMONIAL LADLE
Nigeria
A carved horseman at the centre of the shaft
above a hand, circular bowl, black patina
71 cm. long
€ 800 – 1 200
66
68
67
A YORUBA EGUNGUN HEADDRESS
Nigeria
Composed of a large circular cloth bundle sewn
with cowries and surmounted by a head with tall
blackened coiffure, the facial features smoothly
worn with thick encrusted surface
46 cm. high
€ 600 – 800
68
69
69
A PAIR OF YORUBA TWIN FIGURES
A YORUBA TWIN FIGURE
Nigeria
Nigeria
Ere ibeji, male and female, each with tall, incised
coiffure, metal pupils to the eyes, each with beads
about the waist, neck and one wrist, dark glossy
patinas.
Ere ibeji, the male wearing finely incised tunic
and darkened cap, a metal bracelet about each
wrist, on circular base, dark smoothly worn glossy
patina with remains of camwood powder.
26 cm. high
28.5 cm. high
Provenance
Provenance
Loed van Bussel, Amsterdam
Adrian Schlag , Brussels
€ 1 000 – 1 500
€ 3 000 – 5 000
70
71
70
71
A YORUBA BOAT GROUP BY THOMAS ONA
A YORUBA EUROPEAN COUPLE
BY THOMAS ONA
Nigeria
A European in sola topi seated at the front of the boat, four oarsmen
behind (one oar missing).
33 cm. long
Nigeria
On single base, the male holding a chair and with glasses,
each wearing hat
Provenance
23.5 cm. high
Lesley Charles Sibun (1907-1984)
Provenance
Lesley Charles Sibun (1907-1984). Sibun worked for the United Africa
Company in the early 1930s. He also served in the East African Rifles.
€ 800 – 1 200
Cf. Stevenson, M. and Graham-Stewart, M., The Mlungu in
Africa, Art from the Colonial Period, 1840-1940, 2003, p.99, for
an almost identical couple.
€ 800 – 1 200
72
TWO YORUBA EUROPEAN DIGNITARIES
BY THOMAS ONA
Nigeria
Each wearing uniform with carved sash, epaulets and medals and with a sword in sheath to one side, each wearing
sola topi, one with plume
26cm. and 33.5 cm. high
Provenance
€ 1 000 – 1 500
72
73
73
THREE YORUBA FIGURES BY THOMAS ONA
Nigeria
A seated oba holding ceremonial staff ; his wife with child
at her back and feathers in her headdress; and an attendant
with bag and staff, each with painted embellishments.
23cm. to 29 cm. high
Provenance
€ 1 000 – 1 500
74
TWO YORUBA FIGURES BY THOMAS ONA
Nigeria
A District Officer seated at his desk holding a book in one
hand; and a native soldier in uniform and fez holding a rifle
23 cm. and 24 cm. high
Provenance
€ 300 – 500
74
76
A YORUBA GELEDE MASK
Nigeria
The blackened coiffure in four lateral incised
ridges with a short projecting plait to one side,
triple scarification on cheeks and forehead,
pierced through the nostrils and eyes, pale patina.
38 cm. high
Provenance
75
A YORUBA FEMALE BOWL BEARER
Nigeria
The standing figure holding a spherical bowl and
cover before her abdomen, the face with triple
scarification to forehead and cheeks, tall double
lobed coiffure, prominent pointed breasts, wearing striped skirt, carved bracelets, on large circular
base, pale patina with blackened embellishments.
53 cm. high
Provenance
Gerd Stoll, Munich, 1975.
€ 5 000 – 8 000
€ 3 000 – 5 000
77
A YORUBA GELEDE MASK
Nigeria
The coiffure with checkered bands across the hairline and descending from the
blackened median crest, scarification on the cheeks, panels of geometric ornament,
perhaps representing scarification, on the temples, forehead and chin, dark patina.
38 cm. high
Provenance
Karin Frey, Munich
€ 8 000 – 12 000
78
A YORUBA IRON STAFF
Nigeria
The finial as a standing figure with an animal at his side above a ring of four figures
with upraised arms, a further ring of four birds below above iron cone rattles and
raffia tassels.
138 cm. high
Provenance
Galerie Simonis, Düsseldorf
€ 1 000 – 1 500
79
80
79
80
AN URHOBO MASK
AN IBO FIGURE
Nigeria
Nigeria
The slender oval face with vertical scarification on the forehead, the tall triangular
headdress above surmounted by joined
horn-like projections, encrusted patina of
white, black and ochre pigments.
Standing with the hands held forward,
palms upwards, scarification to chest and
abdomen, the cap-like coiffure with tall
median crest with carved curved motifs,
painted reddish brown and black.
53 cm. high
107 cm. high
Provenance
Provenance
Lucien Van de Velde, Antwerp
€ 3 000 – 5 000
€ 2 500 – 3 500
81
AN IBO FIGURE
Nigeria
Ikenga, the cylindrical body with carved
and engraved flanges, two tall curved
horns above the small face.
56 cm. high
€ 400 – 600
81
82
83
82
83
AN IJO WATER SPIRIT MASK
AN EKET MASK
Nigeria
Nigeria
The circular face with conical eyes set
within deep brows, the lozenge shaped
snout with geometric motifs in shallow
relief, notched ridge to the top of the
head, painted white, blue, brown and
black.
The small circular face with pierced eyes
and hatched border, surmounted by a
large urn, yellow and black pigment.
50 cm. high
Provenance
Roger Azar, Paris.
80 cm. long
Provenance
Literature
Neyt, F., L’art Eket Collection Azar, Paris,
1979, no.28.
€ 1 500 – 2 000
€ 3 000 – 5 000
84
84
A MAMBILA HEADDRESS
Cameroon
Of cap-like form with central band of
median grooves in relief and a band of lozenges about the border, dark glossy patina
22 cm. wide
€ 800 – 1 200
85
AN IBO DANCE CREST
Nigeria
Carved as a head with scarification in high relief on the
cheeks and temples, the face painted white and black,
the top of the head with carved bands in relief and with
attached fibre coiffure and fibre plaits at the back of the
head, retaining remnants of coloured cloth costume
28 cm. high
€ 3 000 – 5 000
86
AN EKOI DANCE CREST
Nigeria
Carved as a head with inset teeth in the open
mouth, scarification in relief on the cheeks and
forehead, a cavity on the back of the head,
painted brown and black, dark glossy patina, on
woven fibre and cane base.
42 cm. high
€ 2 000 – 3 000
87
A NOK TERRACOTTA FIGURE FRAGMENT
Nigeria
The large head with triangular panels of cross-hatched
ornament on the cheeks, remains of incised moustache,
deeply recessed pupils and parted lips, the right arm
below the chin with grooved bracelet, finely modeled
fingers, grooved collar about the neck.
22.5 cm. high
dating the terracotta to 2,050 years +/- 20 years.
€ 3 000 – 5 000
88
A TIV FEMALE FIGURE
Nigeria
Ihambe, standing with the arms free of the
body, the face with panels of scarification
to cheeks and forehead, the coiffure as two
lobes, extensive scarification about the chest
and abdomen, conical breasts, on circular
base, dark patina.
77 cm. high
There are two principal categories of large
scale Ihambe figure sculpture made by the
Tiv – post figures in an abstracted style and
more naturalistic figures, such as the present
lot, which are usually female. According to
Francois Neyt (in The Arts of the Benue: to the
Roots of Tradition, Tielt, 1985, p.178), Ihambe
figure sculpture has not been made by the
Tiv since the beginning of the 20th century.
Following a traditional marriage exchange in
which the son of one family would marry the
daughter of another whilst his sister would
marry the brother of his new wife, one or
more of these figures were placed by the
family of the husband outside the home of
the girl’s mother along with Akombo fetishes
consisting of sticks, clay pots and medicinal
plants, connected with fecundity of the tribe
and fertility of the land.
The distinctive Kusa scarification carved on
the torsos of such figures is considered an essential sign of female beauty and marks the
transition from girlhood to womanhood. On
the present lot the stomach scarification is of
a type said to represent the Okpoto fish, one
of the two most widespread catfish designs.
These designs distinguished the Tiv from
neighbouring tribes and also distinguished
the different age groups.
€ 8 000 – 12 000
89
90
A BOKI MALE FIGURE
A CROSS RIVER STONE MONOLITH
Upper Cross River area, Nigeria/Cameroon
Nigeria
With arms in relief and the hands on the
abdomen, the spherical head with projecting
cylindrical eyes and deeply excavated mouth, the
pectorals and shoulder blades in relief, lower legs
eroded, weathered patina.
Of rounded form with facial features carved in
relief, the oval mouth with carved teeth, dotted
border to the eyes, scarification to cheeks and
temples, concentric circles to the top of the head,
smoothly weathered surface.
50.5 cm. high
57 cm. high
Cf. Krieger, K., Westafrikanische Plastik, Berlin, 1978,
Vol.1, pl.82, for a similar figure collected by Glauning in 1901. A pair of figures in similar style in the
Carlo Monzino collection are illustrated in Vogel,
S., African Aesthetics, New York, 1986, pp.110-111.
Percy A. Talbot ( In the Shadow of the Bush, London,
1912, opposite page 50) illustrates two figures of
this same type photographed in situ on altars. He
describes their use in ensuring success in hunting
and to protect against sickness, wild animals,
witchcraft, and theft. Some he relates are kept for
several generations become more powerful with
age.
Literature
€ 2 500 – 3 500
Bastin, M.-L., Introduction aux Arts de l’Afrique Noire,
Arnouville, 1984, p.45, no.27.
€ 8 000 – 12 000
92
A KEAKA MALE FIGURE
Nigeria
Standing with the arms free of the body and
bent at the elbows, the face with carved
teeth in the open mouth and with deeply
grooved beard, the coiffure with median
crest forming a plait falling down the nape
of the neck, carved band about the waist on
large feet, dark encrusted patina.
78 cm. high
Provenance
Alain de Monbrison, Paris
The Keaka or Kaka are a small ethnic group
situated in the hills of Western Cameroon.
According to their own oral tradition they
are related to the neighbouring Tikar. Their
artistic production comprises mainly carved
ancestor figures, either with colored pigments similar to Mambila tadep figures, or
highly abstract figures. These abstract figures,
with their highly geometrized form and their
thick encrusted sooty patinas are believed to
be the more ancient style and, for collectors
of African art, have come to typify Keaka art.
91
AN IDOMA HELMET MASK
Nigeria
The open mouth with carved teeth and tongue,
glass inset eyes, the incised coiffure with central
crest of five curved incised tufts, thick encrusted
patina.
31 cm. high
Cf. Cole, H. and Aniakor, C., Igbo Art Community
and Cosmos, Los Angeles, 1984, p.118, fig.221, for a
similar mask in the Seattle Art Museum attributed
to the north central Ibo region and said to represent a nwanza bird. Such masks, which come in a
huge variety with hundreds of variations, are worn
by younger men who represent Locust Spirits and
invade villages during dry season festivals.
€ 3 000 – 5 000
According to Pierre Harter (in “Keaka, Kaka
& «Kaka»”, Tribal Arts, 1994, no.3, pp.45-48)
veneration of ancestors was primordial
among the Keaka. The ritual celebrations in
which the statues were used were organized
by the mbir, the men’s secret society, and
the figures associated with this cult were the
responsibility of the wantop, one of the high
members of the chief’s council.
Literature
African Arts, vol.XVII, August 1984, no.4, p.23.
€ 20 000 – 30 000
94
A PAIR OF MAMBILA FIGURES
Nigeria
Each with conical eyes and recessed oval mouth,
the male with one hand on the abdomen, the
other held to the chin, the female with both
hands on the abdomen, deeply incised coiffures,
dark patinas with red and white painted embellishments
34 cm. high
Provenance
J. de Vilmoir, France
€ 3 000 – 4 000
93
A MAMBILA MALE FIGURE
Nigeria
The concave face with recessed oval mouth, short
arms with hands on the chest, highly stylised legs,
a cord around the neck, painted black with white
and red embellishments.
71 cm. high
Provenance
Seraphin, California
€ 10 000 – 12 000
95
A CROSS RIVER SKINCOVERED
DANCE CREST
Nigeria, 19th century
The head covered with black-dyed skin, the
eyes inset with metal, the broad parted lips with
plaited fibre borders, three flared cylindrical
projections at the back of the head covered with
red and yellow trade cloth, secured with a cloth
cylinder, woven rattan base.
26.5 cm. high
A Cross River crest in the collection of the World
Museum, Liverpool, is almost identical to the
present lot but the skin is predominantly yellow
rather than black. It was one of two purchased
by the museum in 1873 from the Liverpool curio
dealer, William Cross and described as “heads of
idols, formed of skin stretched on wood & basket
work”. Only one remains in the museum’s collection today, the other having possibly been lost,
along with many other objects, in the aftermath
of the bombing of the museum in 1940.
Pale skin-covered masks are said to be female
and dark-stained masks male. This leads us to
speculate on whether this mask could be the pair
to the Liverpool crest. As no detailed description
or image of the museum’s second mask survives,
it remains speculation. However, it seems highly
probable that the two masks were made by the
same artist.
€ 6 000 – 8 000
96
A MUMUYE FEMALE FIGURE
Nigeria
Standing with the arms free of the body, tall
median crest to the coiffure, incised scarification
about the neck and face, the breasts incised on
the chest, dark glossy patina.
84 cm. high
€ 2 000 – 3 000
97
A MUMUYE FIGURE
Nigeria
Standing with the arms free of the body, the
head with medial crest and extensive whitened
engraved scarification
50 cm. high
€ 800 – 1 200
98
A BANGWA NIGHT SOCIETY HELMET MASK
Cameroon
Of Janus form, each face with carved teeth in the open mouth,
the eyes in relief below overhanging brows, central ridged coiffure above, the two masks bound together with fibre, thick dark
encrusted patina.
carved, the ancient ones being repaired when needed. They could
be moved only after those who came in contact with them had
taken strict ritual precautions. The thick patina of soot and libations,
it is believed, added to their effectiveness.
25.5 cm. high
Pollock believes they were made to be worn as they have holes for
attachment of a head covering. However, he relates that the Bangwa
considered these old masks to have become so powerful and dangerous that they could no longer be worn on the head. Even to hold
or carry a mask on the shoulder, a man had to be ritually pure and of
a certain social status. (Pollock and Brain, Bangwa Funerary Sculpture,
London, 1971, p. 132).
Provenance
Jacques Kerchache, Paris
The Night Society was one of the oldest and most important societies of the Bangwa. Its most important role was that of kingmaker,
naming a successor after the king’s death and maintaining political
continuity during the period of interregnum. Its members were state
executioners, and in the distant past hanged witches and criminals.
Due to its secrecy and the political power it wielded, the Night Society was feared by the Bangwa. Its ritual objects, the terrifying Night
masks and ceremonial sticks, were displayed during the so-called
“cry-die”, the late chief’s funeral ceremony.
Unlike the masks of other societies participating in the king’s funeral
ceremony, which were regarded purely for their aesthetic qualities,
the Night Society masks were terrifying symbols of the worldly and
supernatural powers of the chiefs and were considered highly dangerous. Stored for years in hidden places, new masks were very rarely
The masks of the Night Society are very varied in form but a common feature is their grotesque and sometimes extreme, even
violent, appearance. They are said to represent humans, “terrifying,
powerful men” according to Pollock (op.cit. p.133).
Some of the Night masks are two-faced, some even four-faced. The
Janus feature may derive from the idea that the Night society is
considered the chief’s ‘eyes’, thus enabling the society to see in all
directions.
€ 8 000 – 12 000
100
A RARE BANGWA FIGURE
Cameroon
Lekat, for the Kungang society, the crouching male figure with the
elbows resting on the knees and the hands held to the cheeks,
pierced open mouth and protuberant eyes, the coiffure as two
lobes, a rectangular cavity between the shoulder blades, ancient
dark and encrusted patina.
84 cm. high
Provenance
Josef Herman, London
Alan Mann, London
Christie’s Paris, 4 December 2008, lot 313.
99
A BANGWA DANCE CREST
Cameroon
The face with wide open mouth with carved teeth, two large horns
from the top of the head curving around to the front of the face, on
domed base, dark glossy patina.
33 cm. high
Provenance
Loudmer, Paris, 22 June 1984, lot 80.
Pollock (in Pollock and Brain, Bangwa Funerary Sculpture, London,
1971, pl.16) publishes a photograph of a very similar mask worn on
the head of a dancer, and also includes sketches of other headdresses of this same type (figs.22-24). He calls them masks of the
“challenge” society, a loose translation of the Bangwa word, Ngkpwe,
a warrior society. The slaying of an enemy and the presentation of
his skull to the chief originally gave a warrior and his patrilineal successor the right to perform the dance. The “challenge” society once
organised head-hunting expeditions and today its members perform dances during the “cry” ceremony to mark the funeral of a chief.
€ 2 000 – 3 000
Robert Brain and Adam Pollock published a study of a small group
of Bangwa who migrated from the area of the Bamileke about three
hundred years ago after losing a succession dispute. The group
brought with them skilled carvers such as the artist responsible for
the famous Bangwa Queen.
In Bangwa Funerary Sculpture (London, 1971, p.12, pl.5) they publish
a photograph in which a figure in a similar crouching position to the
present lot can be seen in a house interior behind some bamboo
bars. They illustrate two other figures in a crouching position with
dark crusty patina, which they describe as lekat figures used by
the kungang society. They state that the kungang society was of
Bamileke origin and their figures were larger and more powerful
than the more common njoo fetishes. A kungang priest would use
such a figure in a rite to discover if the perpetrator of a misfortune is
lying. Their power increased with age and they are therefore rarely
sold to outsiders.
According to Pierre Harter the hands on the chin is a sign of wisdom
and thoughtfulness (Arts anciens du Cameroun, Arnouville, 1986,
p.268). Christraud Geary was told by a Weh informer that baboons
were believed to be reincarnated ancestors and greatly feared which
may account for the simian features of this powerful figure.
This figure took pride of place on a shelf over the fireplace in Josef
Herman’s studio in London.
€ 25 000 – 35 000
101
102
101
103
A TEKE FIGURE
A HOLO FIGURE
Democratic Republic of the Congo
The coiffure in a chignon at the back, the
body entirely encased in fetish material
with sticks at the neck level, secured with
cloth with applied red pigment, dark
glossy patina to the face.
Standing with the arms in relief, one hand
on the groin, the other on the chest, a
plug inset in the rectangular fetish chest
cavity, deeply grooved coiffure, blackened brows, scarification about the eyes
and blackened circlets on the cheeks,
coloured beads about the neck, metal
rings about the neck and ankles, red and
black pigment.
25 cm. high
€ 3 000 – 5 000
35 cm. high
102
A TEKE FIGURE
Scarification about the face, flared beard
below the open mouth, circular coiffure,
the arms in relief flanking the fetish cavity
on the abdomen, dark patina.
48.5 cm. high
€ 2 500 – 3 500
103
€ 800 – 1 200
104
AN NGBAKA MASK
With concave whitened ovals about the pierced
eyes, the raised rims with engraved vertical incising, small recessed mouth and small ears to the
sides, scorched coiffure.
31 cm. high
Cf. de Grunne, B., Rêves de beauté. Sculptures
africaines de la collection Blanpain, Luxemburg,
2005, no.43.
€ 8 000 – 12 000
106
A KOTA RELIQUARY FIGURE
Gabon, Obamba or Mindumu group
The face with features in relief, almondshaped eyes, a V-shaped motif in relief on the
forehead from the top of the nose, crescent
crest above, lateral panels below, the whole
covered with panels of copper with dotted
borders, a large lozenge in relief on the back
of the head.
36 cm. high
Provenance
Christie’s Paris, 10 June 2008, lot 89
Sold by Christie’s in 2008 with two other
Kota figures all collected by the then owner’s
great grandfather, a colonial administrator in
Brazzaville, who died in 1931. A photograph
showing him aboard ship in Africa was published in the catalogue.
Cf. Chaffin, A and F., L’Art Kota, Les figures de
reliquaries, Poitiers, 1980, p.158, fig.66 for a
similar Kota formerly in the collection of Félix
Fénéon. The same Kota is also published in
Eternal Ancestors, The Art of the Central African
Reliquary, New York, 2007, p.238, no.68.
€ 25 000 – 30 000
105
A KONGO FLYWHISK HANDLE
Carved as a kneeling maternity figure holding a
suckling child across her thighs, the mother with
conical cap and a band across her upper breasts,
double collar about her neck, the cylindrical
handle below with carved interwoven ornament,
fine dark glossy patina.
30 cm. high
Provenance
Hans Schneckenburger, Munich.
€ 5 000 – 8 000
107
108
107
108
A KUBA CUP
A KUBA CUP
Carved as a head on single foot, finely
carved coiffure, scarification in relief on
temples and neck, dark glossy patina.
15.5 cm. high
Carved as a head with cross hatched
coiffure and keloids and scarification to
the temples, grooves about the cylindrical rim, on circular foot, loop handle, dark
glossy patina.
Literature
18 cm. high
Rossel, S. and Wentholt A., Tribal Treasures
in Dutch Private Collections, Berg en Dal,
2009, p.106.
€ 600 – 800
€ 2 000 – 2 500
109
A SMALL SONGYE POWER
FIGURE
The half figure with deeply recessed
mouth, eyes and ears, inset with nails
and with attached amulets of hide, cloth,
bone and shells, hide-bound nail in the
top of the head, red beads about the
neck, pale to dark patina.
26.5 cm. high
€ 1 800 – 2 200
109
110
111
110
112
SONGYE KIFEWEBE MASK
A VUVI MASK
Gabon
The whitened face with carved parallel
grooves, a central black raised ridge down
the centre of the face with projecting rectangular mouth, fibre about the border.
The whitened face with rounded nose
and pierced slit eyes, small reddened
mouth, a small cross on each cheek, a pair
of blackened angular horns above.
80 cm. high
44 cm. high
€ 1 000 – 1 500
€ 3 000 – 5 000
111
A SONGYE KIFEWEBE MASK
The whitened face with parallel grooves,
pierced rectangular mouth, reddened
about the pierced slit eyes, a panel of
lozenge ornament to the chin.
42 cm. high
€ 2 000 – 3 000
112
113
114
113
115
A LEGA MASK
MANGBETU KNIFE
Kindu region, Democratic Republic of the
Congo
The heart-shaped face with large pierced
and domed eyes, pierced lozenge-shaped
mouth, dark glossy patina with remains of
white pigment.
The curved iron blade pierced twice and
with three projections, the ivory grip with
carved geometric ornament and circlets,
terminating in a finely carved head finial,
dark creamy patina.
21 cm. high
35 cm. long
€ 1 500 – 2 000
€ 2 000 – 2 500
114
116
A LEGA IVORY FIGURE
A LUBA KIFWEBE MASK
The female standing with the arms in
relief and the hands held above the
small breasts, the heart-shaped face with
coffee-bean eyes, dark golden patina
9.5 cm. high
Of circular form, carved grooves radiating about the pierced slit eyes within
black ovals, a blackened vertical band in
relief at the centre forming the nose, the
blackened rectangular mouth below with
whitened cross at the centre.
€ 3 000 – 4 000
28.5 cm. high
Provenance
115
Jacques Blanckaert, Brussels
€ 10 000 – 12 000
116
117
A SONGYE KIFWEBE MASK
Of angular form, with long rectangular
mouth below the triangular nose, pierced
slit eyes, painted with broad bands of
alternating black and reddish brown.
32.5 cm. high
€ 2 000 – 3 000
117
118
A SONGYE POWER FIGURE
Nkisi, the large head with inset teeth in the
large rectangular mouth, the face painted
red and white, spirally carved neck, the arms
carved free of the body with hands each side
of the prominent navel which is pierced for
insertion of fetish material, the short legs
on circular base, dark patina with remains of
coloured pigments.
49.5 cm. high
Provenance
Galerie Simonis, Dusseldorf
Adrian Schlag, Brussels, Belgium
Literature
Neyt, F., La Redoutable Statuaire Songye
d’Afrique Centrale, Antwerp, 2004, p.264,
no.234.
€ 10 000 – 15 000
119
A SONGYE POWER FIGURE
Nkisi, the angular face with applied copper
strips to cheeks, temples and nose, the eyes
with inset iron cone pupils, the coiffure with
hide panel falling down the back and a band
of fur and a double band of iron inserts at
the hairline, the neck bound with hide and
retaining numerous horn amulets, fibre
necklace suspending further horn amulets,
on circular base, dark patina.
77.5 cm. high
Cf. Neyt, F., La Redoutable Statuaire Songye
d’Afrique Centrale, Antwerp, 2004, p.208,
no.174
€ 15 000 – 20 000
121
120
A HEMBA MALE FIGURE
The tall slender figure with the arms carved free of the body and
the hands on the abdomen, the face with finely carved features,
the coiffure in the style of an Egyptian headcloth with cross in relief
at the back, white and coloured beads about the neck, on domed
circular base, black patina.
97 cm. high
Provenance
Cf. Neyt, F., La Grande Statuaire Hemba du Zaïre, Louvain-la-Neuve,
1977, p.116-118, no.II,10, for a figure in similar style from the Baudouin de Grunne collection. It was collected in the village of Mbuli,
on the road from Mbulula to Lengwe. It is attributed to the Honga
style and has a similar Egyptian-style coiffure.
€ 5 000 – 8 000
121
A KUBA MASK
Mukyeem, the cloth headdress and hide face sewn with cowries and
beads, attached wood nose, fibre beard.
50 cm. high
€ 1 000 – 1 500
122
A HEMBA CHIMPANZEE MASK
So’o, with broad projecting mouth and pierced
slender eyes, pierced about the border for attachment of costume, fine dark glossy patina.
19.5 cm. high
Provenance
Alain de Monbrison, Paris
Literature
Neyt, F. and de Strycker, L., Approches des Arts
Hemba, Villiers-le-Bel, 1975, p.55, fig.59.
€ 8 000 – 10 000
123
124
123
124
A HEMBA JANUS FIGURE
A SONGYE MALE FIGURE
Kabeja, carved as addorsed male and
female figures, each with the hands on
the abdomen and standing on flexed
legs, a cylindrical projection above the
heads for insertion of fetish material, dark
glossy patina.
The arms free of the body with the hands
on the abdomen, the feet on domed
circular base.
25 cm. high
32 cm. high
€ 500 – 800
Provenance
Ludwig Bretschneider, Munich.
125
€ 3 000 – 5 000
125
A CHOKWE STOOL
Angola
The hide seat with inset brass tacks about
the border, the four legs on pad feet and
with carved stretchers, dark patina.
19.5 cm. high
€ 500 – 800
126
127
A NYAMWEZI MASK
A MAKONDE HELMET MASK
Tanzania
Tanzania/Mozambique
With broad pierced open mouth, double vertical
grooves below the pierced eyes, hide beard, dark
glossy patina.
The pierced mouth with carved teeth, scorched
scarification about the face, human hair attached
to the coiffure and beard, yellow pigment.
23 cm. high
25.5 cm. high
Provenance
Provenance
Fred Jahn, Munich
Peter Wengraf, London
€ 2 000 – 3 000
€ 4 000 – 6 000
128
129
130
130
128
130
A ZULU STAFF
TWO EAST AFRICAN STAFFS
South Africa
Each with standing female figure finial, one Dinka with disc finial
about the head, the other Zaramo with bifurcated coiffure, white
bead eyes and white beads about the neck, dark glossy patinas.
The male head finial with idiong ring, notched teeth and deeply
recessed eyes with hemispherical pupils, pierced ear lobes, dark glossy
patina with scorched embellishments
74 cm. long
€ 1 000 – 1 500
88 cm. and 91 cm. long
Provenance
Dr. Jochen Krüger, Hamburg
Neumeister, Munich, 11 November 2010, lots 245 and 258.
€ 1 500 – 2 000
129
AN OVIMBUNDU STAFF
Angola
The female head finial with finely carved facial features and engraved
scarification on the forehead and temples, the typical looped coiffure
with finely hatched triangles, dark patina
57 cm. long
Provenance
Rev. William and Annie Fay, Congregationalist missionaries, Portuguese
West Africa (Angola), 1882-1907
Michael Graham-Stewart, London
Literature
Graham-Stewart, M., Africa, 2012, fig.9.
€ 1 000 – 1 500
131
131
A RARE ZAMBIA STOOL
The support carved as a zebu between two rectangular struts, its long straight horns joining the
rim of the circular seat, scorched patina
25.5 cm. high
€ 1 000 – 1 500
132
TWO TERVUREN PUBLICATIONS
Joseph Maes. Fetischen of Tooverbeelden uit
Kongo, Annales du Musée du Congo belge, tome
II, fascicule 1, Tervuren, 1935; and Joseph Maes.
Fetischen of Tooverbeelden uit Kongo, Annales
du Musée du Congo belge, tome II, fascicule 1,
Tervuren, 1935
€ 400 – 600
133
A BONGO POST
Sudan
Of cylindrical form, the shaft carved with flanges
and surmounted by a head with recessed eyes
and mouth and crescent ears, weathered patina.
101 cm. high
Exhibited
Josef-Haubrich-Kunsthalle, Cologne, Wahre
Wunder: Sammler & Sammlungen im Rheinland, 5
November 2000 – 11 February 2001.
€ 3 000 – 5 000
133
134
134
135
134
135
A GROUP OF MELANESIAN
ARTEFACTS
AN ADMIRALTY ISLANDS
BEAD APRON
A bone dagger with carved mask above
a panel of carved ornament; a Humboldt
Bay pectoral with boar’s tusks and nassa
shells and suspending fibre tassels with
shells; three fibre body ornaments sewn
with shells and teeth; a woven fibre bag
sewn with nassa shells, and two Solomon
Islands spears.
Of woven fibre sewn with geometric
design in white and black shell beads, suspending nut tassels and sewn with bands
of Job’s tears at the top.
The longest 159 cm.
61 cm. long
Provenance
Georg Hacker (1865 -1945), Düsseldorf.
€ 2 000 – 3 000
Provenance
Hacker was appointed scenic painter to
the City Theatre of Düsseldorf in1896. He
was also responsible for the decorative
painting in the Zoological Institute of the
University of Strasbourg.
€ 1 500 – 2 000
136
A LOWER RAMU RIVER FIGURE
New Guinea
Kandimboang, of stylized form, the long
nose joined to the
abdomen, the hands on the thighs, dark
patina.
18 cm. high
€ 1 000 – 1 500
136
137
A SEPIK RIVER HEAD
New Guinea
The slightly parted lips with protruding tongue, shell-inlaid eyes, the
pierced septum with fibre cord, remains of ochre and white pigment
23 cm. high
Provenance
Anton Eckert, Germany
€ 3 000 – 5 000
137
138
A PAPUAN GULF DRUM
New Guinea
The open end carved as the stylised open jaws of a crocodile, carved
on each side with a stylised mask within bands of carved ornament
heightened with lime, carved grip to one side, reptilian skin membrane, dark glossy patina.
53 cm. long
Provenance
Mark Lissauer
Leo Fortess, Honolulu
Michael Hamson, California
€ 1 000 – 1 500
138
Dr. Otto Jordan (1899-1988) was one of the great collectors in post-war Munich. He began collecting modern German art before World War II from
dealers such as the famous Rudolf Probst. He settled in Munich after the war and founded a factory producing industrial paints and adhesives. The
company was sold in 1964 and he then devoted much of his time and considerable resources to his collecting interests. In addition to modern art
he collected the arts of Africa, the Pacific and the Far East. The majority of his objects he acquired from the important dealer in Munich, Ludwig
Bretschneider between 1953 and 1978.
139
A IATMUL HOOK FIGURE
Sepik River, Papua New Guinea
Carved as a standing male figure with arms free of the body, the
face with shell pupils in the blackened eyes, cap-like coiffure, fibre
tufts in the ears, the long nose joining the chest between the breasts
carved as concentric circles, four concentric circles carved about the
prominent navel, the hook below with double eye motif, pierced
suspension lug to the back of the head, painted reddish brown with
white and black embellishments, fine old worn patina to the top of
the hook.
44 cm. high
Provenance
Dr Otto Jordan, Munich
€ 8 000 – 12 000
140
141
A TAMI ISLANDS BOWL
A NEW IRELAND MALAGAN FIGURE
Papua New Guinea
The standing male figure holding a flying fish
in both hands against his abdomen, his beard
and hair inset with fibre tufts, surmounted by a
standing bird holding a serpent in its beak, the
eyes inset with shell operculae, finely painted
geometric designs in red, white and black, old
painted inventory number: 13292.
Of lenticular form, the sides carved in relief with
frigate bird motifs heightened with lime, dark
glossy patina, old label: Sammlung Wellner. Tami
Südsee.
42 cm. long
Provenance
120 cm. high
Provenance
€ 800 – 1 200
The work is sold with a certificate from Ludwig
Bretschneider, dated 25 August 1968 which reads:
Umstehend abgebildeter Malangan aus Neu-Irland
(Neumecklenburg) stammt aus dem Linden-Museum und ist dort vor 1914 gesammelt worden. Er kam
später durch Tausch in die Slg. A. Speyer, Berlin. (The
Malangan pictured overleaf from New Ireland
(Neumecklenburg) comes from the Linden Museum and was collected before 1914. It was later
exchanged with A. Speyer, Berlin).
We have been unable to confirm this information
with the Linden Museum who tell us that the
number written on the object is not one of their
inventory numbers.
€ 30 000 – 50 000
142
143
142
144
145
144
A BUKA PADDLE
A SAMOA CLUB
Solomon Islands
The flared head with twenty-one paired barbs below the triangular
finial, dark patina.
The leaf-shaped blade carved on one side with a crouching figure
painted black and red.
155.5 cm. long
103 cm. long
€ 1 500 – 2 000
Provenance
€ 1 000 – 1 500
145
A FIJI GUNSTOCK CLUB
143
Qata, the spurred head with rippled inside curve, fine dark glossy
patina.
A FIJI PINEAPPLE CLUB
97.5 cm. long
Totokia, the head with five rows of projections, central spike, plaited
fibre about the shaft, engraved grip, fine old dark glossy patina.
€ 2 000 – 3 000
73 cm. long
€ 3 000 – 5 000
146
146
A TONGAN CLUB
147
Provenance
Ernest Carter (b.1859) and by descent to
the present owner.
With raised collar below the leaf-shaped
blade, carved all over with bands of
geometric ornament, the shaft of lozenge
section, pierced butt lug, dark glossy
patina.
€ 1 500 – 2 000
115 cm. long
A PACIFIC PADDLE
Provenance
the present owner. Ernest Carter served as
sick berth steward on board HMS Flying
Fish between 1880 and 1883 during its
survey of Fiji from its base at the Australian Station. He retired from the navy in
1894.
148
148
With leaf-shaped blade, a collar carved
with geometric motifs at the junction of
the paddle and shaft, dark glossy patina.
116 cm. long
Provenance
the present owner.
149
149
€ 1 000 – 1 500
147
A FIJI GUNSTOCK CLUB
Qata, of nokonoko wood, the spurred
head with carved parallel grooves on
the inside curve, fine rippled surface and
flared butt, dark glossy patina.
97 cm. long
€ 800 – 1 200
149
TWO FIJI THROWING CLUBS
Ula, each with carved grip, one with
gadrooned head, the other with plain
spherical head, dark glossy patinas
42 and 39.5 cm. long
€ 600 – 800
150
150
151
A SOLOMON ISLANDS CANOE
PROW FIGURE HEAD
New Britain
Nguzu nguzu, the face with fretted pearl-shell inlay
eyes, the deeply recessed mouth with carved
teeth and the lips carved in relief, pierced septum
to the nose, the arms bent at the elbow with the
hands held below the chin, the lug for attachment pierced three times, black patina.
17 cm. high
Provenance
The Gurney family, Loudwater, Buckinghamshire,
England.
William Gurney, perhaps the most likely member
of the family to have collected the prow, worked
on various boats in the Far East and Pacific trade
in the 1890s including the steam-yacht Ceylon,
the SS Chimorago and the Benlarig, the last trading to the East out of Hamburg. He was also a
member of the Royal Navy Reserve until 1893.
Literature
Graham-Stewart, M., Foreigners, London, 2011,
fig.19.
€ 3 000 – 5 000
A TOLAI DANCE AXE
Pem, the wooden shaft with flared finial carved
and painted with geometric ornament incorporating spiral eyes, trade metal blade.
124.5 cm. long
CF. Heermann, I. (Ed.), Form Colour Inspiration
Oceanic Art from New Britain, Stuttgart, 2001, p.44,
fig.4. The author describes how such axes, called
pem, were used in mourning ceremonies by
masked figures called tubuan, to chop down the
deceased house and trees.
€ 1 500 – 2 000
152
A MELANESIAN POUNDER
The slender cylindrical pounder surmounted by
a spatulate finial with carved animal to one side
and a mask to the other, bands of geometric ornament, black patina.
89 cm. long
€ 1 000 – 1 500
151
152
153
A NEW BRITAIN CLUB
Gazelle Peninsula
The cylindrical shaft with conical butt and tip, the
head with bulbous projections, dark glossy patina.
131 cm. long
Provenance
Acquired by the present owner from a former Missionary of the Sacred Heart, based in Rabaul.
Cf. Parkinson, R., Thirty Years in the South Seas,
Stuttgart, 1907, p.102, fig.32,4, for an almost
identical club. Parkinson states that such clubs
were mainly the product of the inland tribe, the
Tumuip, or Paleawe, as the Nakanai people called
them.
€ 3 000 – 5 000
153
154
A MASSIM CEREMONIAL AXE
New Guinea
The flared shaft carved in relief with scrolls
and geometric ornament, snakes in relief at
the centre, the grip terminating in a pierced
bird’s head, cane binding retaining the flared
stone blade, the head pierced about the
border for attachments.
70 cm. long
€ 2 000 – 3 000
155
A LUMI SHIELD
Parrku, of curving rectangular form, a scrolling motif in relief at the centre, remains of
fibre grip to rear.
95 cm. high
Cf. Peltier, P. and Morin, F. (eds.), Shadows of
New Guinea: art from the great island of Oceania in the Barbier-Mueller Collections, Geneva
2006, p.358, fig.177
€ 1 000 – 1 500
156
156
157
157
A NIAS FIGURE
A NIAS FIGURE
Standing holding a sword and staff, wearing elaborate headdress,
ear plug and necklace, on shaped rectangular base, pale patina with
black painted embellishments.
Standing on flexed legs with hands together before the abdomen,
tall elaborate headdress with a band of red cloth, carved ear ornament and red cloth in one ear, pale patina with blackened embellishments.
36 cm. high
Provenance
Rheinische Missionsgesellschaft
Literature
Rossel, S. and Wentholt A., Tribal Treasures in Dutch Private Collections,
Berg en Dal, 2009, p.122.
36.5 cm. high
Provenance
Rheinische Missionsgesellschaft
Literature
Rossel, S. and Wentholt A., Tribal Treasures in Dutch Private Collections,
Berg en Dal, 2009, p.121.
€ 2 000 – 2 500
€ 2 000 – 2 500
158
A KORWAR FIGURE
Doreh Bay, Irian Jaya
Standing holding a large shield pierced with
scrolling motifs, the figure with carved teeth in
the slightly parted lips, the eyes inset with blue
glass beads, dark patina with remains of old label.
33 cm. high
Provenance
Collected by a German medical officer in the 19th
century and by descent to the present owner.
The korwar ancestor figure serves as a medium
between the ancestor and his living relatives.
They consult with it when its advice or assistance
is required in cases of illness, danger, for success
in fishing trips or planning journeys. The korwar
is held in great honour and the carving of a
korwar is an occasion for considerable ceremony.
Korwars are adorned with red cloth and offered
tobacco to ensure their favorable disposition.
However if a korwar fails to deliver on a supplication it might be discarded or sold and another
made.
Van Baaren surveys the writers on the subject of
korwars all of whom identify this style of korwar
as coming from the Doreh Bay area. They are
characterized by the most naturalistic style of face
and the richly carved shield. The shield is said to
represent snakes and appear in varying degrees
of stylization. Van Baaren concurs with Nuoffer’s
hypothesis that the shield derived from an early
prototype in which the korwar figure held two
snakes by the neck. The snake in Geelvink Bay
mythology is the symbol of the underworld and
death and the dangers of the dark, which must be
overcome. At the same time the snake represents
rejuvenation and regeneration.
A number of korwars of this type were amongst
the earliest collected. C. J. Jessop gave a
similar figure to the British Museum in 1865
(Oc1865,0503.3) and Van Baaren (in Korwars and
Korwar Style, Art and ancestor worship in North-West
New Guinea, The Hague, 1968, pl.44) illustrates a
very similar figure in the Rijksmuseum voor Volkenkunde, Leiden (inventory 53-41) which entered
the collection before 1865.
€ 15 000 – 20 000
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Exhibitions
Cologne
February 2014
Sandra Vazquez del la Horra meets Teutloff Collection
Brussels
April 2014
Marie Jo Lafontaine
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La propriété n’est transférée qu’au moment du paiement intégral du prix de vente.
5. Sans préjudice du second alinéa du présent article, I’adjudication se fera sans aucune
garantie d’absence de vices (cachés ou visibles, de conformité ou d’éviction) de la part
de Lempertz SA, du commissaire-priseur assurant la vente ou de l‘huissier de justice
instrumentant. Les biens et objets d’art sont vendus dans I’état dans lequel ils se trouvent
à I’endroit de I’exposition et de la vente. Les indications et les estimations figurant dans le
catalogue sont fournies par Lempertz SA à titre purement indicatif et n’engagent en aucun
cas sa responsabilité. Les acheteurs sont censés avoir vu et examiné les biens et les objets
d’art et avoir fait leur offre en toute connaissance de cause. Dans le cas exceptionnel d’une
falsification prouvée, la vente d‘un objet d‘art peut être annulée et le prix d’adjudication
remboursé à I‘acquéreur s’il retourne I‘objet acheté dans les trois (3) semaines après la date
de la vente, avec la preuve qu’iI s‘agit d‘une falsification, et pour autant que l’objet soit resté
dans le même état qu’au moment de la vente. Les acheteurs doivent s’assurer eux-mêmes,
avant la vente et pendant les jours d‘examen, de I’état matériel et du statut juridique de
chaque lot, en ce qui concerne les défauts ou restaurations éventuels, ainsi que des restrictions éventuelles quant à sa négociabilité ou son exportation. Lempertz SA ne peut être
tenu responsable des dommages (directs ou indirects) qui seraient la conséquence de I’état
matériel ou juridique des biens vendus.
Pour les ventes soumises à I’article 1649quater du Code civil belge, Lempertz SA sera
responsable en tant que vendeur pour tout défaut de conformité qui existe lors de la
délivrance du bien et qui apparaît dans un an à compter de celle-ci. L’acheteur est tenu, sous
peine d‘échéance, d’informer Lempertz SA de I’existence du défaut de conformité dans un
délai de deux mois à compter du jour où I’acheteur a constaté le défaut.
6. L’acheteur ne peut invoquer ni la compensation ou la confusion, ni peut-il suspendre le
paiement du prix de vente à cause d’un trouble au sens de I’article 1653 du Code civil belge.
7. Les acheteurs doivent retirer les biens vendus endéans les dix jours calendrier suivant la
date de la vente, dans les bureaux de Lempertz SA, rue aux Laines 1, 1000 Bruxelles.
8. Si l’acheteur des biens vendus ne vient pas les enlever au moment convenu et/ou s’il
n’effectue pas le paiement du prix de vente total à ce moment-là, Lempertz SA a le droit à
son choix (sans aucune mise en demeure) et sans préjudice à son droit aux dommages et intérêts: (i) soit de demander en justice le paiement du prix de vente; (il) soit de considérer la
vente comme résolue de plein droit et de procéder à une nouvelle vente des biens concernés.
9. L’exportation d’un bien de la Belgique et/ou I’importation dans un autre pays peuvent
être soumises à des autorisations, licences ou contrôles à la frontière. Chaque acheteur est
seul responsable de remplir toutes formalités et de satisfaire à toutes exigences légales et
réglementaires à ce titre. Le refus ou le retard dans le processus d’obtenir une autorisation ou
licence requise à I’exportation ou à I’importation ne pourra donner lieu à la résolution ou
I’annulation de la vente ni à un retard de paiement du bien par I’acheteur.
10. Les données à caractère personnel collectées par Lempertz SA dans le cadre des ventes
aux enchères qu’elle organise sont enregistrées dans les fichiers de Lempertz SA, tenus dans
son siège sociaI situé rue aux Laines 1, 1000 Bruxelles (Belgique). Lempertz SA opère en
tant que responsable du traitement de ces données et les utilise à des fins de gestion de sa
clientèle présente, potentielle ou ancienne, d’information envers cette clientèle au travers de
campagnes promotionnelles concernant ses services et toutes activités et tous événements,
présents et à venir, qu’elle organise, de comptabilité et de gestion du contentieux. En aucun
cas les données personnelles ne sont transmises à des tiers, à I’exception des sociétés appartenant au même groupe que Lempertz SA et qui pourront recevoir et utiliser les données à
caractère personnel dans le cadre des mêmes finalités.
Conformément à la loi, I‘acheteur dispose à tout moment d’un droit d’accès aux données
le concernant et de rectification de celles-ci, gratuitement et sur demande à I’adresse mentionnée ci-dessus. Si le responsable du traitement utilise les données personnelles de I’acheteur
à des fins d’envois de messages promotionnels, I’acheteur dispose à tout moment du droit de
s‘opposer, gratuitement et sans aucune justification, à recevoir des messages promotionnels
de sa part. Ce droit peut être exercé par simple demande par courrier à la même adresse.
11. Les présentes conditions de vente ainsi que les droits et obligations des parties
découlant des présentes conditions de vente, de la présente vente aux enchères et des
contrats de vente individuels conclus à la présente vente aux enchères sont régis par le droit
belge.
Tous litiges portant sur les matières visées au premier alinéa de cet article relèvent de la
compétence exclusive des tribunaux de Bruxelles.
Verkoopsvoorwaarden
1. Deze verkoopsvoorwaarden zijn van toepassing op de openbare veiling bedoeld in de
catalogus waarin zij opgenomen zijn. Deelneming aan de veiling houdt de onvoorwaardelijke aanvaarding in van deze verkoopsvoorwaarden en van alle andere informatie opgenomen in deze catalogus die bestemd is voor de kopers.
2. Verkopen dienen contant in Euro of, indien aanvaard door de eigenaar, per gecertifieerde
bankcheque betaald te worden bij levering. De koper betaalt bovenop de toewijzingsprijs
een commissie van twee en twintig procent (22) evenals de 21 BTW op de aankoopcommissie. De toewijzingsprijs zal vermeld staan op het proces-verbaal. Voor de lotnummers
in de catalogus die met * gekenmerkt zijn, wordt een opgeld van 22 van de toeslagprijs
gerekend; op dit nettobedrag (toeslagprijs + opgeld) wordt de wettelijke omzettaks van 6
bijgerekend (standaard BTW-tarief). De uitvoer naar derde landen is BTW vrijstelllig (i.e.
buiten de E.U.) en - bij vermelding van het BTW-identificatienummer - ook voor bedrijven
in andere EU-lidstaten.
3. De toewijzing geschiedt aan de meestbiedende (de koper). De koop- en verkoopovereenkomst tussen Lempertz SA en de koper komt tot stand op het moment van toewijzing. ledere koper in de veilingzaal wordt geacht in eigen naam en voor eigen rekening te
handelen, en zal persoonlijk aansprakelijk zijn voor de betaling. Lempertz SA behoudt zich
het recht voor om geen enkel verkocht lot af te leveren zonder voorafgaandelijke en integrale
betaling van de verkoopprijs.
4. Vanaf de toewijzing gaan alle risico‘s betreffende het toegewezen voorwerp over naar
de koper. De eigendom gaat slechts over op het moment van volledige betaling van de
verkoopprijs.
5. Behalve zoals bepaald in het tweede lid van dit artikel, zal de toewijzing geschieden
zonder enige waarborg voor (verborgen dan wel zichtbare) gebreken, niet-conformiteit of
uitwinning vanwege Lempertz SA, de optredende veilingmeester of de instrumenterende
gerechtsdeurwaarder. De goederen en kunstvoorwerpen worden verkocht in de staat waarin
ze zich bevinden op de plaats van bezichtiging en veiling. De beschrijvingen en schattingen
opgenomen in de catalogus worden door Lempertz SA louter indicatief verstrekt en kunnen
geen enkele aansprakelijkheid van Lempertz SA teweegbrengen. De kopers worden geacht
de goederen en kunstvoorwerpen te hebben bezichtigd en onderzocht en hun bod met volledige kennis van zaken te hebben gedaan. In het uitzonderlijk geval van bewezen vervalsing
kan de verkoop van een kunstvoorwerp ontbonden worden en de toewijzingsprijs aan de
koper worden terugbetaald als hij het aangekochte voorwerp binnen de drie (3) weken na
de veilingdatum retourneert met het bewijs dat het een vervalsing is, en voor zover dat het
voorwerp nog steeds in identiek dezelfde staat en toestand verkeert als op het ogenblik van
de veiling. De kopers dienen zich voor de veiling, tijdens de kijkdagen, zelf te vergewissen
van de materiële toestand en juridische staat van elk lot, wat betreft eventuele gebreken,
restauraties of eventuele beperkingen op hun overdraagbaarheid of uitvoer. Lempertz SA kan
niet aansprakelijk gesteld worden voor (rechtstreekse dan wel onrechtstreekse) schade die het
gevolg is van de materiële of juridische toestand van de verkochte goederen.
Met betrekking tot de verkopen die aan 1649quater van her Belgisch Burgerlijk Wetboek
onderworpen zijn, is Lempertz SA als verkoper aansprakelijk voor elk conformiteitsgebrek
dat bestaat bij de levering van de goederen en dat zich manifesteert binnen een termijn van
een jaar te rekenen vanaf deze levering. De koper dient Lempertz SA op de hoogte te bren-
gen van het conformiteitsgebrek binnen de twee maanden vanaf de dag waarop de koper het
gebrek heeft vastgesteld, op straffe van verval van zijn compensatierecht.
6. De koper kan zich niet beroepen op schuldvergelijking, noch op schuldvermenging, noch
kan hij de betaling van de verkoopprijs opschorten wegens een stoornis in de zin van artikel
1653 van het Belgisch Burgerlijk Wetboek.
7. De kopers dienen de verkochte goederen af te halen binnen de tien kalenderdagen na de
datum van de veiling, in het kantoor van Lempertz SA, Wolstraat 1, 1000 Brussel.
8. Indien de koper de verkochte goederen niet komt afhalen op het afgesproken tijdstip, of
op dat moment niet overgaat tot de betaling van de volledige verkoopprijs, heeft Lempertz
SA het recht, naar diens vrije keuze, om zonder enige verdere ingebrekestelling en zonder
afbreuk aan haar recht tot schadevergoeding: (i) hetzij de betaling van de verkoopprijs in
rechte te vorderen; (ii) hetzij de koop- en verkoopovereenkomst van rechtswege als ontbonden te beschouwen en over te gaan tot wederverkoop van de desbetreffende goederen
9. De uitvoer van een goed uit België en/of de invoer in een ander land kan onderworpen
zijn aan een vergunnings- of toelatingsplicht of aan grenscontroles, Elke koper is alleen
verantwoordelijk om de nodige formaliteiten te vervullen en aan de wettelijke en reglementaire vereisten te voldoen in dat verband. Een weigering of vertraging in het verkrijgen van
een vereiste export- of importvergunning of -toelating kan geen aanleiding geven tot het
ontbinden of vernietigen van de verkoop of een vertraging in de betaling van het goed door
de koper.
10. Alle persoonsgegevens die verzameld worden door Lempertz SA in het kader van de
veilingen die zij organiseert worden bewaard in de bestanden van Lempertz SA, Wolstraat.1,
1000 Brussel (België) en worden door deze laatste, in haar hoedanigheid van verantwoordelijke voor de verwerking van de gegevens, aangewend met het oog op het beheer van haar
huidige, toekomstige of oude klantenbestand, het informeren van haar klanten via promotiecampagnes over haar diensten en alle huidige of toekomstige activiteiten en evenementen
georganiseerd door Lempertz SA, voor haar boekhouding of voor geschillenbeheer. In geen
geval worden de persoonsgegevens aan derden meegedeeld, met uitzondering van de vennootschappen die tot dezelfde groep als Lempertz SA behoren en die de persoonsgegevens
verwerven en gebruiken voor dezelfde doeleinden.
Overeenkomstig de wet heeft de koper op elk moment het recht om de gegevens die op hem
betrekking hebben, in te kijken en te verbeteren, gratis en mits verzoek op het hierboven
vermelde adres. Als de verantwoordelijke voor de verwerking de persoonsgegevens gebruikt
voor de verzending van promotionele boodschappen, heeft de koper op elk moment het
recht om zich te verzetten tegen de ontvangst van zulke promotionele boodschappen, en
dit gratis en zonder verdere rechtvaardiging. Dit recht kan uitgeoefend worden middels een
eenvoudig schriftelijk verzoek op hetzelfde adres.
11. Deze verkoopsvoorwaarden evenals de rechten en verplichtingen van de partijen die uit
deze verkoopsvoorwaarden, deze veiling en de individuele koop- en verkoopovereenkomsten
afgesloten in het kader van deze veiling voortvloeien, worden beheerst door het Belgisch
recht.
Alle geschillen in verband met de in het eerste lid van dit artikel opgesomde zaken vallen
onder de uitsluitende bevoegdheid van de rechtbanken van Brussel.
Verkaufsbedingungen
1. Diese Verkaufsbedingungen gelten für die in dem Katalog in dem sie aufgenommen
wurden erwähnte Versteigerung. Die Teilnahme an der Versteigerung setzt die bedingungslose Annahme dieser Verkaufsbedingungen voraus, sowie aller sonstigen Informationen des
Katalogs, die für die Käufer bestimmt sind.
2. Verkaufe sind bei Lieferung in Euro oder, wenn vom Eigentumer akzeptiert, mit
zertifiziertem Bankscheck zu bezahlen. Der Kaufer zahlt über den Zuschlagspreis hinaus
eine Provision von zweiundzwanzig Prozent (22 ) zuzüglich 21  Umsatzsteuer auf die
Kauferprovision. Der Zuschlagspreis wird im Protokoll vermerkt. Für die Katalogpositionen, die mit * gekennzeichnet sind, wird ein Aufgeld von 22 vom Zuschlagpreis
erhoben; auf diesen Nettorechnungspreis (Zuschlagpreis + Aufgeld) wird die gesetzliche
Umsatzsteuer von 6  hinzugerechnet (Regelbesteuerung). Von der Mehrwertsteuer befreit
sind Ausfuhrlieferungen in Drittländer (d.h. außerhalb der EU) und - bei Angabe der
MwSt.-Identifikations-Nr. - auch an Unternehmen in anderen EU-Mitgliedstaaten.
3. Der Zuschlag erfolgt an den Meistbietenden (den Käufer). Der Kauf- und Verkaufsvertrag
zwischen Lempertz SA und dem Käufer kommt mit dem Zuschlag zustande. Von jedem
Käufer im Versteigerungssaal wird angenommen, dass er in eigenem Namen und auf eigene
Rechnung handelt. Jeder Käufer haftet persönlich für die Zahlung. Lempertz SA behält sich
das Recht vor, kein einziges verkauftes Los ohne vorherige und vollständige Zahlung des
Verkaufspreises auszuliefern.
4. Mit dem Zuschlag gehen alle Risiken bezüglich des erworbenen Gegenstands auf den
Käufer über. Das Eigentum wird erst zum Zeitpunkt der vollständigen Zahlung des
Verkaufspreises übertragen.
5. Außer in den im zweiten Absatz dieses Artikels genannten Fällen, erfolgt der Zuschlag
ohne Garantie für (verborgene oder sichtbare) Mängel, Fehler oder Haftung seitens der
Lempertz SA, seitens des agierenden Auktionators oder des ausführenden Gerichtsvollziehers.
Die Güter und Kunstgegenstände werden in dem Zustand verkauft, in dem sie sich
am Ort der Besichtigung und Versteigerung befinden. Die Beschreibungen und
Schätzungen im Katalog werden von der Lempertz SA rein informativ zur Verfügung
gestellt und führen unter keinen Umständen zu Haftungsansprüchen gegen die Lempertz
SA. Es wird davon ausgegangen, dass die Käufer die Güter und Kunstgegenstände
besichtigt und geprüft haben und ihr Angebot in vollständiger Kenntnis der Sachlage
gemacht haben. Im außergewöhnlichen Fall einer bewiesenen Fälschung kann der
Verkauf eines Kunstgegenstands storniert werden und kann der Zuschlagspreis dem
Käufer rückerstattet werden, wenn dieser den gekauften Gegenstand innerhalb von drei
(3) Wochen nach dem Versteigerungsdatum mit dem Beweis der Fälschung zurückbringt
und sofern der Gegenstand sich noch stets in exakt demselben Zustand befindet, in dem
er zum Zeitpunkt der Versteigerung war. Die Käufer müssen sich während der Besichtigungstage, selbst vom materiellen Zustand und vom rechtlichen Status jedes Loses in Bezug
auf eventuelle Mängel, Restaurierungen oder eventuelle Übertragungs- oder Ausfuhrbeschränkungen vergewissern. Lempertz SA kann nicht für (direkte oder indirekte) Schäden
haftbar gemacht werden, die eine Folge des materiellen Zustands oder des rechtlichen Status
der verkauften Güter sind.
Bezüglich der Verkäufe, die Art. 1649 des belgischen Zivilgesetzbuchs unterliegen, ist die
Lempertz SA als Verkäufer für jeden Konformitätsmangel haftbar, der bei Lieferung der
Güter besteht, und der innerhalb einer Frist von einem Jahr ab dem Datum dieser
Lieferung in Erscheinung tritt. Der Käufer muss die Lempertz SA, bei Strafe des Verfalls
seiner Ersatzansprüche, über den Konformitätsmangel innerhalb von zwei Monaten nach
Feststellung des Mangels durch den Käufer informieren.
6. Der Käufer kann sich nicht auf Aufrechnung oder auf Konfusion berufen, noch kann er
die Zahlung des Verkaufspreises aufgrund einer Störung im Sinne von Artikel 1653 des
belgischen Zivilgesetzbuches aufschieben.
7. Die verkauften Güter sind von den Käufern innerhalb von zehn Kalendertagen nach
dem Tage der Versteigerung in den Räumlichkeiten der Lempertz SA, Wolstraat 1, 1000
Brüssel abzuholen.
8. Wenn der Käufer die verkauften Güter nicht zum vereinbarten Termin abholt oder zu
diesem Zeitpunkt nicht den vollständigen Verkaufspreis bezahlt, hat die Lempertz SA das
Recht, ohne jegliche weitere Inverzugsetzung und ohne Einschränkung ihrer
Schadensersatzansprüche, nach eigenem Ermessen: (i) die Zahlung des Verkaufspreises
gerichtlich einzufordern; (ii) oder den Kauf- und Verkaufsvertrag von Rechts wegen als
gelöst zu betrachten und die betreffenden Güter erneut zu verkaufen.
9. Die Ausfuhr von Gütern aus Belgien und/oder die Einfuhr in ein anderes Land können
einer Genehmigungs- oder Zulassungspflicht unterliegen und/oder Grenzkontrollen
unterzogen werden. Jeder Käufer ist für die Erledigung der erforderlichen Formalitäten
sowie für die Einhaltung der diesbezüglichen gesetzlichen und behördlichen Vorschriften
ausschließlich selbst verantwortlich. Eine Weigerung oder Verzögerung bezüglich der
Erlangung einer erforderlichen Ausfuhr- oder Einfuhrgenehmigung bzw. -zulassung kann
weder Anlass für die Aufhebung oder Auflösung des Verkaufs sein, noch für eine
Verzögerung der Bezahlung der Güter durch den Käufer.
10. Alle personenbezogenen Daten, die von der Lempertz SA im Rahmen der durch sie
organisierten Versteigerungen gesammelt werden, werden in den Dateien der Lempertz
SA, Wolstraat 1, 1000 Brüssel (Belgien) gespeichert und werden von ihr in ihrer Eigenschaft
als für die Datenverarbeitung verantwortliche Organisation für die Verwaltung ihrer
aktuellen, künftigen oder alten Kundendaten verwendet, sowie zur Information ihrer
Kunden mittels Werbekampagnen bezüglich ihrer Dienstleistungen und aller aktuellen
und künftigen von ihr organisierten Aktivitäten und Veranstaltungen, für buchhalterische
Zwecke und zur Streitfallabwicklung. Die personenbezogenen Daten werden in keinem
Fall an Dritte weitergeleitet, außer an Gesellschaften, die zu derselben Gruppe wie die der
Lempertz SA gehören, und die die personenbezogenen Daten für die gleichen Zwecke
erwerben und verwenden.
Laut Gesetz ist der Käufer zu jedem Zeitpunkt berechtigt, die sich auf ihn beziehenden
Daten kostenlos an der oben genannten Adresse einzusehen und zu korrigieren. Wenn die
für die Verarbeitung verantwortliche Organisation die personenbezogenen Daten für das
Versenden von Werbemitteilungen verwendet, ist der Käufer zu jedem Zeitpunkt
berechtigt, sich dem Erhalt solcher Werbemitteilungen kostenlos und ohne weitere
Rechtfertigung zu widersetzen. Dieser Anspruch kann mittels eines einfachen schriftlichen
Antrags an dieselbe Adresse geltend gemacht werden
11. Diese Verkaufsbedingungen sowie die Rechte und Pflichten der Parteien, die aufgrund
dieser Verkaufsbedingungen, dieser Versteigerung und der im Rahmen dieser
Versteigerung abgeschlossenen individuellen Kauf- und Verkaufsverträge entstehen,
unterliegen belgischem Recht.
Alle Streitfälle im Zusammenhang mit den im ersten Absatz dieses Artikels genannten
Angelegenheiten unterliegen ausschließlich der Zuständigkeit der Brüsseler Gerichte.
Absentee Bid Form auction 1025, Brussels
African and Oceanic Art, 28. 1. 2014
Lot
Aufträge für die Auktion 1025, Brüssel
Afrikanische und Ozeanische Kunst, 28. 1. 2014
Title Titel (Stichwort)
The above listed bids will be utilized to the extent necessary to overbid
other bids. The bids are binding, the listed catalogue numbers are valid.
The commission and value added tax (VAT) are not included. The bidder
accepts the conditions of sale printed in the catalogue. Written bids should
be received by at latest the day before the auction. Telephone bidding is
possible for lots worth at least € 1.000,–.
Bid price € Gebot bis zu €
Die oben eingetragenen Gebote werden wir nur soweit in Anspruch
nehmen, als andere Gebote überboten werden müssen. Die Aufträge sind
bindend, es gelten die eingetragenen Katalognummern. Das Aufgeld und
die Mehrwertsteuer sind nicht enthalten. Der Auftraggeber erkennt die im
Katalog abgedruckten Versteigerungsbedingungen an. Schriftliche Gebote
sollen einen Tag vor der Auktion vorliegen. Aufträge für Telefongebote
könne erst ab einer Texe von € 1.000,– erteilt werden.
Name Name
Address Adresse
Telephone Telefon
Fax
E-Mail
References and identification may be required for new clients Evtl. Referenzen und Identifikation bei Neukunden
Date Datum
Signature Unterschrift
Lempertz SA
Grote Hertstraat 6 rue du Grand Cerf Brussels 1000 Bruxelles T +49.2.5140586 F +49.2.5114824
info@lempertz.com brussel@lempertz.com www.lempertz.com
Shipping Instructions
Versandanweisung
Lempertz SA is prepared to instruct Packers and
Shippers on your behalf and at your risk and expense upon
receipt of payment and instructions.
Der Versand der ersteigerten Objekte wird auf Ihre Kosten
und Gefahr nach Zahlungseingang auf Ihre Anweisung
vorgenommen.
For information:
Phone +31.2.25140586 brussel@lempertz.com
Bei Rückfragen:
Tel +31.2.25140586 brussel@lempertz.com
Surface Mail
Post o.a.
Airmail
Luftpost
Air Freight
Luftfracht
Shippers/Carriers
Abholung persönlich
I will arrange collection
Versicherung (nur zum vollen Rechnungsbetrag)
Insurance
Pictures framed under glass cannot be sent by mail.
Bilder unter Glas können nicht mit der Post versandt werden.
Lots to be packed and shipped to:
Versand an:
Telephone
Telefon
Charges to be forward to:
Rechnungsempfänger:
(wenn abweichend von Versandadresse)
Date and signature:
Datum und Unterschrift:
Vintage Fashion
Auction 20 February in Cologne
Haute couture from a German private collection
Consignments are welcome until 21 December
Old Masters and Decorative Arts
Auctions on 16 and 17 May 2014
Invitation to consign
Andreas Schelfhout. Beach view at Scheveningen
Oil on wood, 42 x 53.5 cm. Result: € 100,000,–
Modern Art, Contemporary Art and Photography
Auctions on 30 and 31 May 2014
Invitation to consign
Lyonel Feininger. Still life
Oil on canvas, 55.6 x 78 cm. Result: € 1,220,000,–

African and Oceanic Art 28 January 2014 Brussels Lempertz Auction

Transcription

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