Bohams

AFRICAN AND OCEANIC ART
Tuesday, December 5, 2017

Los Angeles
Tuesday, December 5, 2017 at 1pm
Los Angeles
BONHAMS BIDS INQUIRIES ILLUSTRATIONS

7601 W. Sunset Boulevard +1 (323) 850 7500 Fredric Backlar Front cover: Lot 82
Los Angeles, California 90046 +1 (323) 850 6090 fax Consulting Specialist Front inside cover: Lot 8
bonhams.com Tel: +1 323 436 5416 Back inside cover: Lot 86
To bid via the internet please visit fred.backlar@bonhams.com Back cover: Lot 10
PREVIEW www.bonhams.com/24304 Session 1: Lot 34
Friday, December 1, 12-5pm Cassandra D’Cruz Session 2: Lot 52
Saturday, December 2, 12-8pm Please note that telephone bids Business Administrator
Sunday, December 3, 12-5pm must be submitted no later than Tel: +1 323 436 5434
Monday, December 4, 10-5pm 4pm on the day prior to the cassandra.dcruz@bonhams.com
Tuesday, December 5, 10-1pm auction. New bidders must also
provide proof of identity and
address when submitting bids.
SALE NUMBER: 24304
Please contact client services with
Lots 1 - 94
any bidding inquiries.
CATALOG: $35
Please see pages 108 to 110
for bidder information including
Conditions of Sale, after-sale
collection and shipment.
Bonhams
220 San Bruno Avenue
San Francisco, California 94103
© 2017, Bonhams & Butterfields
Auctioneers Corp.; All rights reserved.
Bond No. 57BSBGL0808
AFRICAN AND OCEANIC ART | 1

CONTENTS
3 Oceanic Art
51 African Art
108 Conditions of Sale
109 Seller’s Guide
110 Buyer’s Guide
111 International Contacts
112 Auction Registration Form
2 | BONHAMS
OCEANIC ART
Lots 1 – 44

1
DAYAK TUNJUNG FIGURE, KALIMANTAN, BORNEO
hampatong
Wood
height 59 1/2in (151cm)
Provenance
Edward Klejman, New York/Paris
Régine and Guy Dulon, Paris
Binoche et Giquello, Paris, 16 December 2015 (lot 146)
Private Collection, California
Jerome Feldman notes, “Protective figures called hampatong or

tempatong are common to many Dayak groups...In certain areas they
serve as offering poles, tomb guardians used to terrify evil spirits, or
ancestor figures. The three categories are not mutually exclusive, as
ancestors can be protective and serve as offering poles.” (Arc of the
Ancestors, Regents of the University of California, 1994, cat. 30)
$5,000 - 7,000
€4,300 - 6,000
4 | BONHAMS
2
FINE ABORIGINAL SHIELD, PROBABLY LE GRANGE BAY
REGION, WESTERN AUSTRALIA
Wood
height 28in (71cm)
Provenance
Private American Collection
The obverse side lightly adzed with a few vertical grooves; the grip
side with a handle in the center and finely incised with a square
meandering pattern of diagonal grooves; fine, honey-brown patina.
$2,000 - 3,000
€1,700 - 2,600
3
No Lot

4
4
FOOD TRAY, MURIK LAKES, LOWER SEPIK RIVER, PAPUA
NEW GUINEA
Wood
diameter 22in (55.9cm)
Provenance
Reportedly collected in the 1930s
Formerly in the collection of a German museum (unknown)
Finely carved in hard wood with natural undulation, the bottom with
raised carving of a bird; dark brown patina with encrustations on the
bottom.
$4,000 - 6,000
€3,400 - 5,200
6 | BONHAMS
5
5
BAHINEMO MASK, HUNSTEIN MOUNTAINS, PAPUA NEW GUINEA
garra
Wood, pigments
height 22 3/4in (60.5cm)
Provenance
Private East Coast Collection
In lozenge form, the heavily adzed surface with residue of

pigmentation throughout.
$3,000 - 5,000
€2,600 - 4,300

6
IATMUL HEADREST, EAST SEPIK PROVINCE, MIDDLE SEPIK
RIVER, PAPUA NEW GUINEA
Wood, cane
length 20in (50.8cm)
Provenance
Museum Haus Völker und Kulturen, Saint Augustine, Germany
(71.10.37)
Private Collection, France
Acquired from the above by the present owner
Finely carved, most likely without the use of metal tools, with each
end of the head support with heads of classic Sepik River style,
the underside with a central ridge running lengthwise and carved
throughout the entire surface with linear and geometric design, the
cane legs wrapping around the edges and bound together by twisted
cane, bearing the Museum’s collection number “71.10.37” on the
inside of one leg.
$8,000 - 12,000
€6,900 - 10,000
8 | BONHAMS
7
LIFESIZE BARKCLOTH FIGURE OF A CROCODILE, GULF
REGION, PAPUA NEW GUINEA
Barkcloth, cane, black and white pigment
length 74in (188cm)
Provenance
Beatrice Grimshaw Collection, field collected by a family member in
the early 1920s. Grimshaw (1870-1953) was a writer and traveler of
Irish origin who for many years was based in Papua New Guinea
Thence by descent
“The immense cultural diversity of Papua New Guinea is reflected

in the diverse tapa-making traditions of this large country. Most are
still poorly documented. Speaking approximately seven hundred
different languages, the people of Papua New Guinea number about
three and a half million, making this the most culturally diverse
country in the world. Although their cultures share basic subsistence
similarities in horticulture, hunting and fishing, there are significant
variations in kinship and social relations, religious rituals, architecture,
visual artforms, clothing styles, types of leadership, warfare, trading
patterns, and funerary customs. Many of these variations are
expressed in the different kinds and different uses of tapa cloth.”
(Neich, Roger and Mick Pendergrast, Pacific Tapa, University of
Hawai’i Press, 1997, p. 133)
$20,000 - 30,000
€17,000 - 26,000
Photographic Portrait of Beatrice Grimshaw

8
RARE BARKCLOTH MASK WITH SEEDCASE EYES, PROBABLY
MULIAMA REGION, EAST COAST OF SOUTHERN NEW
IRELAND, PAPUA NEW GUINEA
lali or tilok
Barkcloth, seedcase, rattan, white pigment, wood, fiber
height 17in (43.2cm)
Provenance
Barbier-Mueller Museum, Geneva
In reference to a similar mask acquired in 1896 by the Ethnologisches

Museum, Berlin, Germany, Michael Gunn notes, “On the east
coast we met Pitpittoka people who spoke of one of their masking
traditions called tilok, which was used to honor the deceased. Berlin
VI 13106 was identified by a Pitpittoka man as similar to the tilok
masks that they had previously used.”
Gunn also notes, “In comparison with other regions, the locality
around Muliama is relatively well documented, particularly from
the 1907-1910 period when the Deutsche Marine-Expedition
established a base camp there for anthropologists...Although much
anthropological work was undertaken around Muliama by these
workers, no real record was made of the masking traditions of the
north and east coast of southern New Ireland.
Several masks which resemble this one [see fig. 3] in the Barbier-
Mueller Collection were purchased by Schlaginfaufen at Muliama and
recorded with the names lali and tilok, but we do not know anything
else about them.[...]
Until further research is undertaken, this group of masks collected

from Muliama in the early part of this century will remain largely a
mystery.” (Ritual Arts of Oceania - New Ireland - in the Collections of
the Barbier-Mueller Museum, Skira, Milan, 1997, p. 70)
$20,000 - 30,000
€17,000 - 26,000
10 | BONHAMS
9
MALAGAN FRICTION DRUM, NEW IRELAND, PAPUA NEW GUINEA
lunet/livika
Wood
Provenance
Jan Visser, Amsterdam
Private Collection, Oregon
‘In northern New Ireland, wooden drums known as lunet were used as
musical instruments during malagan ceremonies, elaborate feasts that
honored the dead. In contrast to the complex funerary carvings displayed
during these ceremonies, drums were neither painted nor adorned with
intricate designs. Instead, they were unique in their simplicity of form,
and their decoration was limited to a series of carved, almond-shaped
eyes inset with opercula, the calcified “doors” that originally covered the
openings of snail shells.
Lunet were “friction drums” with three sound-producing wedges

(or “tongues”) on top. These wedges, each cut to a different size,
are separated from each other and have small spaces hollowed out
underneath. A musician would have played the drum by moistening one of
his hands with water and rubbing it across the wedges, creating a unique
blend of tones reminiscent of the cry of the bird for which the drum was
named. (Metropolitan Museum of Art, WEB, nd)’
$20,000 - 30,000
€17,000 - 26,000
12 | BONHAMS
10
RARE DANCE MASK, AMBRYM ISLAND, VANUATU
Wood, vegetal matter, pigment, fiber
Provenance
Staatliches Museum fur Völkerkunde, Munich
Ludwig Bretschneider, Munich, 1956
Marie Ange Ciolkowska, Paris, 1958
E. Hepburn, Paris
Published
Hausenstein, Wilhelm, Barbaren und Klassiker - Ein Buch von der
Bildnerei Exotischer Völker, Piper & Co. Munich, 1923, no. 30 and
front cover
Exhibited and Published

Cannes, France, Palais Miramar: Première Exposition Rétrospective
Internationale des Arts d’Afrique et d’Océanie, Hélène et Henri Kamer
(Chargés de Mission), July 6 - September 29, 1957, no. 390
Carved from exceedingly light wood with a ridged crest along the
top of the head, the forehead extending outwards over large eye
sockets and protruding triangular nose; the top and boarders painted
in florescent blue, red and white, the facial plane painted in glace with
white accents; raffia coiffure attached to the back of the mask with
string.
$20,000 - 30,000
€17,000 - 26,000
10 10
14 | BONHAMS
11
BIG NAMBAS PEOPLES SACRED SPEAR, MALEKULA ISLAND,
VANUATU
Bamboo, wood, human bone, fiber
Provenance
Dr. Augustin Kramer, collected in the early 1900s
Published
Hurst, Norman, Power and Prestige: The Art of Island Melanesia and
the Polynesian Outliers, Cambridge: Hurst Gallery, 1996, fig. 42
Bearing two collection inscriptions in black marker on the midsection

and lower section of the bamboo shaft: “Dr. A. Kramer/N.C.1249
Espiritu Santo”
Although Dr. Kramer’s inscription says Espiritu Santo, the style of

carving is certainly from Malekula Island, immediately to the south
of Espiritu Santo. Felix Speiser (Ethnology of Vanuatu - An Early
Twentieth Century Study, [1923], trans. D.Q. Stephenson, Crawford
House Press, Bathurst, Australia, p. 204) notes that there was much
interisland trade, especially of weapons and clubs.
$6,000 - 8,000
€5,200 - 6,900
11
11 11
16 | BONHAMS
12
PARRYING SHIELD CLUB, SAN CRISTOBAL ISLAND,
SOLOMON ISLANDS
roromaraugi
Wood
length 43 1/2in (101.5cm)
Provenance
Dougal Stevenson, Wellington, New Zealand
Finely carved in hard, dense wood with a seated San Cristobal figure
near the base of the shaft, the broad shield portion with a graceful
curvature and accented with a raised ridge line; fine, encrusted dark
brown patina with wear indicative of age and use.
$5,000 - 7,000
€4,300 - 6,000
12 19th Century daguerreotype of a Soluman Islands Warrior 12

13
DAGGER OR SPEAR TIP, ADMIRALTY ISLANDS
Wood, stone, pigments
Provenance
Private Collection, New Zealand
Bearing a cloth collection label which reads “Pak Is./Admiralty

Group”, and a collection number “31B” written on the handle in white
ink
$3,000 - 5,000
€2,600 - 4,300
14
PRIEST’S OIL DISH, FIJI ISLANDS
dari ni waiwai ni bete
Wood
Provenance
Christie’s London, 3-4 July 1990 (lot 74)
Hélène and Philippe Leloup, Paris
Of classic, elegant spade form on tripod feet, the interior of the dish
with significant amount of oil residue.
$4,000 - 6,000
€3,400 - 5,200
15
RARE HEADREST, FUTUNA ISLAND
Wood
Provenance
Marist Missionary Society, founded by Father Jean-Claude Colin and
a group of other seminarians in Lyon, France, in 1816
Private Collection, France
Roughly carved from a solid block, this headrest was used as a

pillow to prevent the elaborate hairdressing of its owner from being
disarranged, a ridge runs along the center of the underside from end
to end, bearing an old collection number “127” written largely twice
on underside in red, and a white collection label on top with “91”
written in script.
$5,000 - 7,000
€4,300 - 6,000
13
18 | BONHAMS
14
15

16
EXCEPTIONAL PADDLE CLUB, TONGA ISLANDS
‘akau tau
Wood
length 39 7/8in (112cm)
Provenance
George Vason (1772-1838), author of An Authentic Narrative of Four
Years’ Residence at Tongataboo, published in 1816. Vason landed
on Tongatapu in 1797 as part of the first expedition of the London
Missionary Society.
Thence by descent through the Vason family, Northern Ireland
Craig Finch, London
Mark and Carolyn Blackburn, Honolulu, Hawaii
Published
Kaeppler, Adrienne, Polynesia: The Mark and Carolyn Blackburn
Collection, University of Hawai’i Press, Honolulu, 2010, fig. 182
According to Adrienne Kaeppler, “Tongan clubs were the most

numerous type of artifacts collected on Cook’s voyages. Quite
a number can be located, but many have lost their association
with Cook’s voyages. More than 50 clubs from the Leverian
Museum alone have lost their association with the voyages and are
unidentified today. Because they are so numerous, Tongan clubs are
particularly useful for studies of change in the short period between
Cook’s second and third voyage. At a reception for Cook in Ha’apai,
club fighting was apparently used for entertainment.” (Artificial
Curiosities, Bishop Museum Press, Honolulu, 1978, p. 238)
This superbly stone-carved paddle club is completely decorated on

both sides with finely-incised decorations; depicted are eleven figures
of men holding clubs, or carrying clubs and other items, four circles,
four birds and other unusual motifs including one representing a
human face; fine rich, dark-brown patina.
$80,000 - 120,000
€69,000 - 100,000
16 16 Tonga Islands, “Massacre of De L’Angle and Lamanon
20 | BONHAMS
17 18
22 | BONHAMS
17 18
CLUB, TONGA ISLANDS CLUB, TONGA ISLANDS
‘akau tau apa’apai
Wood Wood
length 31 1/2in (80cm) length 40in (101.5cm)
Provenance Provenance
Walter Potter, Bramber, Sussex, England Private Collection, England
Walter Potter Museum Sale, Bonhams, Arundel, England, 2003
Private Collection, London Carved in extremely hard wood, of classic trapezoidal form with
Acquired from the above by the present owner sharp edges, bands of incised geometric decoration running from the
top to the midsection, the midsection unfinished, a triangular pierced
Carved from extremely hard wood in trapezoidal form, the top edges lug on the butt; fine dark brown patina with considerable wear
slightly tapering up, decorated on the upper half with finely incised indicative of significant age and use.
bands of geometric design; fine glossy dark brown patina.
$8,000 - 12,000
Walter Potter was a nineteenth century English taxidermist noted for
€6,900 - 10,000
his anthropomorphic dioramas featuring stuffed animals mimicking
human life, which he displayed at his museum in Bramber, Sussex,
England. Potter’s collection, billed as “Mr Potter’s Museum of 19
Curiosities” was a well-known and popular example of “Victorian LARGE TETRAPOD BOWL WITH FOUR HANDLES, TONGA
whimsy” for many years, even after Potter’s death. When Potter ISLANDS
died in 1918, his museum contained about 10,000 specimens. sene
But the Victorian enthusiasm for stuffed animals had waned by Wood
the museum’s later days and it had to be shut in 1970s, and, later diameter 25 1/4in (64.1cm)
revived in 1984 by its new owner in Cornwall. Finally, in 2003 the
collection was auctioned off by Bonhams for over £500,000. (Source: Provenance
Amusingplanet.com, WEB, 2012) Sotheby’s London, 21 June 1993 (lot 24)
Lance Entwistle, London
$6,000 - 9,000 Private American Collection
€5,200 - 7,800
Keith St Cartmail notes, “The simple form of the sene illustrates the
unique Tongan combination of vigour, sureness and simplicity of form.
All of them are round with four feet on the base and four matching
lugs on the rim of the bowl. The form of the sene is identical with the
Samoan masoa bowl, used for preparing masoa (arrowroot)...” (The Art
of Tonga, University of Hawai’i Press, 1997, p. 67)
Cf. (ibid.) fig. 28
$8,000 - 12,000
€6,900 - 10,000
19

20
COCONUT STALK CLUB, SAMOA ISLANDS
talavalu
Wood
Provenance
Private Collection, San Francisco
The upper section with three ribbed chevron bands bordering fields
of incised geometric designs, an unfinished area below the bottom
chevron on one side.
$4,000 - 6,000
€3,400 - 5,200
20
24 | BONHAMS
21
FINE CEREMONIAL HAFTED ADZE, MANGAIA, COOK
ISLANDS
toki
Wood, basalt, coconut fiber sennit
Provenance
Robert Duperrier, Paris
On Mangaian adzes, Phelps notes, “Most woodwork was done

with their unadorned counterparts composed of a basalt blade
lashed with plaited coir to a wood handle. Blades were of various
types according to island and period of manufacture but at the turn
of the nineteenth century the reversed triangular-section type was
most popular, those from Mangaia being highly prized for their fine
finish. The lashings, both on working and on ceremonial adzes, were
extremely skillfully applied...Adzes were made by experts (ta’unga)
trained to the task, by pecking rough basalt and laboriously grinding
with a lump of wetted coral. This craft soon ceased after missionary
contact, when hoop iron, hatchets and nails became available.”
(Art & Artifacts of the Pacific, Africa and the Americas - the James
Hooper Collection, Hutchinson of London, 1976, p. 131)
$5,000 - 7,000
€4,300 - 6,000
21

22
EXCEPTIONAL CEREMONIAL PADDLE, AUSTRAL ISLANDS
hoe
Wood (probably tamanu)
Provenance
Private Dutch Collection
According to Rhys Richards, ‘Though widely called “paddles,” these

objects are not functional paddles. They are ‘paddle shaped,’ but
their sizes are too extreme; their shafts are too weak, and they are
thoroughly unsuitable for use as paddles. Consequently it has been
assumed that they were emblems of rank or status, for ceremonial
rather than functional use.’
Rhys continues, ‘There are good grounds for asserting however that
few if any “paddles” were made and exported after 1842. Firstly,
the population decline was extreme, particularly among the adults,
and dead men made no paddles. By 1840 the total population
on Tubuai had fallen to 250 and on Raivavae to 360. If half were
children, and half the adults were female, then the pool of adult men
who could have been potential carvers, was about 90 and 60 for
the two islands, respectively. Actual carvers would have been even
fewer, particularly if as previously, carvers had been a select group.
However, according to the mission records, by then most of these
men would have been Christians, whose devout moral advisers
actively discouraged traditional arts.’ (The Austral Islands: History, Art
and Art History, New Zealand, 2012, pp 141-145)
Finely decorated around the pommel with sixteen representative

carved human faces and hollowed out, the cylindrical shaft and
enormous, elegant spade-form blade carved throughout with
exceedingly fine incised “sunburst” design; rich and glossy dark-
brown patina overall.
$50,000 - 70,000
€43,000 - 60,000
26 | BONHAMS
23
SPEAR, AUSTRAL ISLANDS
tao
Wood
height 108 3/4in (276.2cm)
Provenance
Captain John Walter Roberts, R.N., Commander of the Shearwater in
St. Helena Station, 1820-1822
Thence by descent
Christie’s London, 23 June 192 (Lot 173)
This finely carved weapon, probably from Rurutu Island, has a flat
blade with a delicate raised midline, a double collar engraved with
chevron motifs; fine, varied dark-brown patina.
According to William Ellis in Polynesian Researches During a

Residence of Nearly Eight Years in the Society and Sandwich Islands,
(1832, p. 296), “In times of war, all capable of bearing arms were
called upon to join the forces of the chieftain to whom they belonged,
and the farmers, who held their land partly by feudal tenure, were
obliged to render military service whenever their landlord required
it. There were, besides these, a number of men celebrated for their
valour, strength, or address in war, who were called aito, fighting
men or warriors. This title, the result of achievements in battle, was
highly respected, and proportionably [sic] sought by the daring and
ambitious. It was not, like the chieftainship and other prevailing
distinctions, confined to any class, but open to all; and many from
the lower ranks have risen, as warriors, to a high station in the
community.
Originally their weapons were simple, and formed of wood; they

consisted of the spear, which the natives called patia or tao, made
with the wood of the cocoa-nut tree, or of the aito, ironwood, or
casuarina. It was twelve or eighteen feet long, and about an inch or
an inch and a half in diameter at the middle or the lower end, but
tapering off to a point at the other. The spears of the inhabitants of
Rurutu, and others of the Austral Islands, are remarkable for their
great length and elegant shape, as well as for the high polish with
which they are finished.”
$10,000 - 15,000
€8,600 - 13,000
24
SUPERB AND LARGE FOOD POUNDER, AUSTRAL ISLANDS
penu
Coral (probably quarried from Tubuai Island)
Provenance
James Malone, Honolulu, Hawaii
Of monumental proportions for its genre, the proportions are

extremely well balanced and the textured surface is finely worked,
most likely without the use of metal tools, so that the lines and
pockets of the natural coral create a sense of tension and movement.
Cf. Polynesian Artifacts - The Oldman Collection, Memoirs of the

Polynesian Society, Wellington, 1953, pl. 37, fig. 457G
$8,000 - 12,000
€6,900 - 10,000
24

25
FISH TRAP, TUAMOTU ISLANDS Provenance
Cane James Malone, Honolulu, Hawaii
height 17 1/2in (44.5cm) not including handle Private Collection, Hawaii
Provenance Robert D. Craig notes, “There seems to be a natural inclination

Private Australian Collection among humans to fashion images of gods and goddesses from
Acquired from the above by the present owner earthly materials. Most cultures have left some physical form of them-
-ranging from the small fertility goddesses made out of clay by the
early Sumerians to the highly carved statues later left by the artists in
US$4,000 - 6,000
Egypt and India. Polynesians were no exception. Some Polynesians,
€3,400 - 5,200
however, did not give much importance to god images--Tongans and
Samoans, for example--and, as a result, fewer images from these
26 islands have survived. Despite the fact that early nineteenth-century
SUPERB STONE IMAGE, TAHITI Christian missionaries destroyed as many of these as they could,
ti’i some managed to endure.[...]
Stone Most likely the oldest of the Polynesian gods were simple upright
height 13in (33cm) stones, unworked by human hands, or perhaps they were slightly
incised to give them a more supernatural quality.” (Handbook of
Polynesian Mythology, ABC-CLIO, 2004, p. 116)
$20,000 - 30,000
€17,000 - 26,000
30 | BONHAMS
27
POUNDER WITH JANUS TIKI HEADS, MARQUESAS ISLANDS Pounders also commonly received a final polish in which a mildly
ke’a tuki popoi abrasive paste made from charcoal and coconut oil was used to
Basalt impart a dark lustrous sheen to the surface.[...]
height 5 7/8in (14.9cm) The dating of popoi pounders and other stone objects remains
problematic. While ke’a tuki popoi were certainly used in the
Provenance precontact period, few, if any, appear to have been collected before
Tristan Tzara Collection, Paris the late nineteenth century. Some scholars suggest that the tiki-head
Loudmer, Paris, November 1988 type [seen here] represents a postcontact development, perhaps
Private American Collection part of the general trend toward greater surface ornamentation that
occurred in the late nineteenth century. The archaeologist Robert
According to Eric Kjellgren, “Popoi pounders form part of the basic Suggs, however, believes the earliest tiki-head pounders may date
equipment of every Marquesan household. With their spare lines and from the mid-eighteenth century. According to information provided
robustly modeled grips that broaden into wide, flaring bases, they are by Marquesans in the 1920s, the unusual bifacial tiki images on
at once ingeniously designed functional objects and striking works the pounders had no symbolic significance but served purely as
of art. In former times popoi pounders, fashioned from close-grained adornment. (Adorning the World - Art of the Marquesas Islands, The
volcanic rock [seen here], were made by specialist carvers known as Metropolitan Museum of New York, 2005, pp. 105-6)
tuhuka ke’a tuki popoi. The process of carving and smoothing the
pounders was originally performed almost entirely with stone adzes, $15,000 - 20,000
although some examples appear to have been finished by abrasion €13,000 - 17,000
or pecking.
32 | BONHAMS
28
STILT STEP, MARQUESAS ISLANDS
tapuvai
Wood
Provenance
Private Collection, Paris
According to Diane M. Pelrine (Affinities of Form, Prestel-Verlag,

Munich - New York, 1996, p. 84), “Stilt games in the Marquesas
Islands consisted of races and competitions in which one man would
try to knock down his opponent by balancing on one stilt while using
the other to strike the stilts of his rival. Particularly skillful stilt-walkers
could also entertain by performing somersaults and other acrobatics.
Stilt contests, along with singing and dancing, are said to have
been the major entertainment at koina and mau, festivals marking
special events such as weddings, milestones in the lives of children
from important families, and the death of a chief or a tau’a, a priest
through whom the gods were believed to speak (Landsdorff 1813,
1: 136; Handy 1923, 218; Ferdon 1993, 68). Thus, stilt contests
were entertaining, but many were also sacred activities (Handy 1927,
306-7). They were believed to be a means of attracting the attention
of deities, as well as a demonstration of the mana of the individual
contestants and the families and groups they represented.
While stilt contests were also popular in other parts of Polynesia,

such as the Society Islands, Hawaii, and New Zealand, only on the
Marquesas did the stilts themselves become an art form.”
$12,000 - 18,000
€10,000 - 16,000

29
29
TWO STILT STEPS, MARQUESAS ISLANDS
tapuvai
Wood
heights 12 1/2in and 14 1/4in (31.7cm and 36.2cm)
Provenance
Jean-Pierre and Angela Laprugne, Paris
$8,000 - 12,000
€6,900 - 10,000
34 | BONHAMS
30 31
30
FOOD POUNDER, MARQUESAS ISLANDS
ke’a tuki popoi
Stone (probably basalt)
Provenance
Private Collection, Arles, France
$2,000 - 3,000
€1,700 - 2,600
31
STONE EXERCISE BALL, HAWAIIAN ISLANDS
Stone (probably basalt)
diameter 9 1/2in (24.2cm)
Provenance
Private Collection, Hawaii
These large stone balls, carved in perfect spherical shape, were

solely used by Hawaiian chiefs and high-ranking officials for
improving their balance and agility.
$4,000 - 6,000
€3,400 - 5,200
31

32
GAME BOARD, HAWAIIAN ISLANDS According to Te Rangi Hiroa (Sir Peter Buck), “Sets of konane holes
papa konane were also made on slabs of lava and flat pieces of basaltic rock...In
Stone (probably basalt) many (specimens) the holes were worn down by previous exposure
9 1/4 by 11 1/2 by 3ins (35 by 29.2 by 7.6cm) to the weather.[...]
The variability in the number of rows and holes indicates conclusively
Provenance that there was no established number of rows and holes for the
Private Collection, Captain Cook, Hawaii konane boards, and evidently the playing of the game was not
affected by changes in the boards. Apparently any increase in the
According to Susanne Moore, “The game of konane, similar but size of the board merely influenced the length of the game. Ellis
more complicated than checkers, was a frequent pastime of King (1839, p. 213) states that konane was a favorite game of old men
Kamehameha I and he was known to play by the hour with his and cites a game which started in the morning and barely finished
chiefs.” (Paradise of the Pacific - Approaching Hawaii, 2015, p. 18) before the end of the day.” (Arts and Crafts of Hawaii, 1957, p. 371)
$4,000 - 6,000
€3,400 - 5,200
36 | BONHAMS
33
SUPERB BOWL, HAWAIIAN ISLANDS Finely hand carved of deep, wide and rounded form with inward
pohaku ku’i poi tapering walls; multiple indigenous repairs throughout and the inner
Wood (probably kou) surface patina with significant age and wear; fine varied honey-brown
diameter 14 1/2in (36.8cm) and dark-brown patina on the outer surface.
Provenance $8,000 - 12,000

Kepokai Family, members of Maui Ali’i €6,900 - 10,000
The Kepokai family were the ali’i managers for the Wailuku district
and the family collection of artifacts is well known and of extremely
high quality. Family members included such noted people as High
Chief Auwae and Judge Auae Noa Kepokai who served as treasurer
of the Hawaiian Kingdom in the cabinet of Hawaii’s last monarch,
Queen Liliuokalani. The home in Wailuku, considered a museum of
priceless Hawaiian heirlooms, played host to prominent members of
Hawaii’s royal families and Washington dignitaries for many years.

34
ANCESTOR FIGURE, NUKUORO ATOLL,
EARLY 20TH CENTURY
tino
Wood (Dysoxylum meliacae)
Provenance
Private Collection, Sydney (purchased in an old curio shop in the
1960s)
Lawson’s, Sydney, 21 May 2001 (lot 130)
Mark and Carolyn Blackburn Collection, Honolulu, Hawaii
Private Australian Collection
Published
Kaeppler, Adrienne, Polynesia: The Mark and Carolyn Blackburn
Collection of Polynesian Art, University of Hawaii Press, 2010, fig.224
Kaufmann, Christian and Oliver Wick, ed., Nukuoro: Sculptures from
Micronesia, Beyeler Museum AG, 2013, fig. 62, illus. pp. 170-71,
(BdG 2013.30) in the catalogue raisonné of all known 37 figures by
Bernard de Grunne
While an early 20th century carving of the one of the most recognized
forms in Oceanic art, the present work exhibits the classic minimalist
tradition of this Polynesian outlier in Micronesia, and indicates that
the carving tradition was still in existence at the time.
$40,000 - 60,000
€34,000 - 52,000
34 34
38 | BONHAMS
40 | BONHAMS
35
STANDING MALE FIGURE, EASTER ISLAND, EARLY 20TH
CENTURY
Wood, shell, black wax
Provenance
Private Collection, Arles, France
$6,000 - 9,000
€5,200 - 7,800
36
MAORI LONG HANDLED FIGHTING STAFF, NEW ZEALAND
tewhatewha
Wood
length 37in (94cm)
Carved of hardwood, the cylindrical shaft of slightly curving form

coming to a point at the handle, a tiki face carved approximately
10 inches from the bottom and a finely carved blade at the top with
rounded front and slightly sloping top; fine reddish-brown patina;
with Webster Collection label, now barely legible, attached to the
blade section through the hole originally intended for the feather
attachments.
Provenance
Kenneth Athol Webster Collection, London
Private Collection, East Coast
According to Sidney Moko Mead, “This type of two-handled club

with expanded end at the blade was used as a signaling device by
the commander of an army, the expanded surface making it clearly
visible. Often feathers were attached on the lower side of the axlike
feature and the feathers could be made to quiver in the wind. The
striking part of the club is the straight edge behind the flat surface,
the club being swung like a quarterstaff.” (Te Maori - Maori Art from
New Zealand Collections, Harry Abrams, New York, 1985, p. 185)
Cf. Mead (ibid.), fig. 36
$4,000 - 6,000
€3,400 - 5,200

37
37 38
MAORI CEREMONIAL ADZE BLADE, NEW ZEALAND, MAORI HAND CLUB, NEW ZEALAND, 1500-1820
1600-1850 mere
toki Pounamu (probably kawakawa variety)
Pounamu (probably kawakawa variety) height 15 5/8in (39.7cm)
length 6in (15.2cm)
Provenance
Provenance Bearing an old French label which translates as: “Belonged to
Stephen Chauvet, Paris Chief Wahanui of the tribe of Njatimaniapu. Collected in 1872 and
Acquired from the above by the present owner purchased in London in 1921 from the dealer called Oldman”
Of slight trapezoidal shape, one side flat, the opposite slightly Private American Collection
convex, carved from a particularly beautiful pounamu stone with
varying cloud-like variation throughout; the edges finely beveled and According to Roger Neich, “Of all the short weapons made of stone,
smooth, exhibiting much age. wood or bone, the mere pounamu or jade thrusting and cleaving
club was held in the highest regard. This was the only Maori weapon
US$6,000 - 8,000 made from jade. With a thong of flax or dogskin looped around
€5,200 - 6,900 the wrist to prevent it from slipping out of the warrior’s grasp, the
flattened sharp-edged mere was a jabbing weapon aimed at the
head or ribs of an opponent. When held against the light, the thin
edges of a mere have a translucent glow, making this a beautiful but
fearsome weapon in the hand of an expert. Fine ancient mere were
often fashioned from the prized inanga variety of jade and usually
had their own personal name, linking them to famous ancestors
of the past. For their present owner, even in times of peace they
became powerful symbols of his rank and status, used to enhance
the dramatic effect of his oratory and displayed at his funeral so that
all would know and respect his position in society.” (Pounamu: Maori
Jade of New Zealand, 1997, pp 15-16)
$25,000 - 35,000
€22,000 - 30,000
42 | BONHAMS
39
39
MAORI HAND CLUB, NEW ZEALAND, 1500-1820
mere pounamu
Pounamu (probably kawakawa variety)
Provenance
Kenneth Webster Collection, London, no. 489
Kenneth Athol Webster (1906–1967) was a collector and dealer of

manuscripts, fine art and ethnographic artifacts associated with
Oceanic peoples. By the 1950s he joined William Oldman and
James Hooper as one of the top four collectors of ethnographic art
in the United Kingdom. Today, a large percentage of Oceanic art in
museums include works from one or both of these collectors.
Bearing collection inscription “WEBSTER COLL 489” near the

suspension hole, the stone of this example is particularly beautiful
with natural variations from light to dark green throughout.
$10,000 - 15,000
€8,600 - 13,000
44 | BONHAMS
40
40
MAORI HAND CLUB, NEW ZEALAND, 1500-1850
mere pounamu
Nephrite (probably kawakawa variety)
Provenance
American Private Collection
Made from an especially attractive stone with ancient wear around

the grip, this mere bears an old collection number “287” near the
suspension hole and “3287” on the blade.
Steven Hooper notes, “Short clubs (generally known as penu) were

both insignia of male warrior status and weapons. They were carried
in the belt and had a short wristcord to prevent loss in combat.
Nephrite was the most highly valued material in New Zealand,
obtained from remote parts of the South Island. Raw stone and
finished artefacts moved between groups via exchange relationships
or as war trophies; objects made of nephrite were and are classified
as great valuables (taonga).” (Pacific Encounters: Art & Divinity in
Polynesia 1760-1860, The British Museum Press, 2006, p. 138)
$12,000 - 18,000
€10,000 - 16,000

41
LARGE MAORI ANTHROPOMORPHIC PENDANT, NEW
ZEALAND, 1600-1850
hei tiki
Provenance
The Estate of Raymond Raybould who was a partner at John Burke
& Partners Antiques on Pembridge Road, London which closed circa
2005
Bearing an old label on the back with writing in script: “Maori tiki
made of New Zealand greenstone/It represents an unborn child
(illegible) emblem of (illegible)/It (illegible) old/It is quiet valuable”
According to Roger Neich, ‘Distinct from all of these forms, the jade
breast ornament called hei-tiki is the most characteristic and most
highly valued of all Maori personal ornaments. In some Maori origin
myths, Tiki was the first man, having been created by the god Tane.
Thus carvings of human figures in any material whether bone, stone
or wood, may be called a tiki. The prefix hei indicates something
suspended from the neck, as in hei-tiki and hei-matau. Hei-tiki
may be worn by both men and women, usually hanging vertically
but sometimes horizontally from a suspension point on the side,
especially by women. They are passed down through the generations
as family heirlooms, and during a funeral they will be displayed near
the deceased, along with other family heirlooms. With their own
41 Photograph of Rangi Topeora personal names, many hei-tiki are remembered in tribal songs and
oral histories. Most of the mana or prestige of the hei-tiki derives
from its close contact with those great ancestors who have worn it
in the past, rather than from any magical or mystical meaning. Some
would argue for a phallic symbolism in hei-tiki, while others claim
that they represent fertility, perhaps in the form of a human embryo.
Most commentators would agree that many of the current meanings
attached to hei-tiki are relatively recent interpretations of an ancient
symbol refined by many generations of artists. It is only natural that
such a potent image as the hei-tiki would be subject to continuing
reinterpretation. Consequently, any search for the “original meaning”
of the hei-tiki is probably futile.’ (Pounamu: Maori Jade of New
Zealand, David Bateman Ltd., Auckland, 1997, pp. 23-25)
Carved from fine, dark-green pounamu, most likely from an adze due
to the straight, flat sides, this example is exceedingly thick, being
approximately 1 1/2in (3.5cm) in its chest area, the top of the head
with a bi-funnel suspension hole.
$40,000 - 60,000
€34,000 - 52,000
41
46 | BONHAMS
42
MAORI ANTHROPOMORPHIC PENDANT, NEW ZEALAND,
1600-1850
hei tiki
Pounamu (inanga variety)
height 5in (12.7cm)
Provenance
This beautiful example is finely stone carved from the most highly
sought after variety of pounamu or nephrite jade from the Maori
inanga stone, named after the young white bait fish because of its
pearly-white, blue-white or light green color; the considerable wear
overall indicates an early, possibly 18th century or earlier, production
date.
Cf. Te Papa Tongarewa, The Museum of New Zealand, inventory no.

ME013453 for a hei tiki fragment carved from a very close match of
this particularly rare white, cloud-like inanga color.
$30,000 - 40,000
€26,000 - 34,000
48 | BONHAMS
43
1600-1850
hei tiki
Provenance
Arman Fernandez, New York
A compact and powerfully stone-carved example in dark-green

pounamu, carved overall with much dimension and muscularity; wear
to the suspension hole in the back indicative of much use and age.
$18,000 - 22,000
€16,000 - 19,000

44
1600-1850
hei tiki
Pounamu (probably kawakawa variety), paua shell
height 4in (10.2cm)
Provenance
Terence Barrow, Honolulu, Hawaii
Thence by descent
Acquired by the present owner from the above
Finely carved without the use of metal tools, this hei tiki is of a
dark olive-green color pounamu with evident translucency around
the edges, the arms and legs are quite muscular and the eyes are
highlighted with inlaid iridescent paua shells, the pierced suspension
hole on the top of the head shows considerable wear at the back.
$8,000 - 12,000
€6,900 - 10,000
50 | BONHAMS
AFRICAN ART
Lots 45 – 94

45
DJENNE HEAD FRAGMENT, INLAND NIGER DELTA, MALI
Terracotta
Provenance
Sotheby’s, London, 2 July 1990 (lot 46)
Private Collection, East Coast
The elongated head with small raised eyes in oval sockets, above
a triangular nose and protruding mouth, raised scarification on
both temples between the eyes and the flanged ears, resting on a
columnar neck; lightly pitted and weathered surface.
$2,500 - 3,500
€2,200 - 3,000
45
46
DJENNE ANIMAL, INLAND NIGER DELTA, MALI
Terracotta
height 15in (38cm)
Provenance
Hélène and Philippe Leloup, Paris and New York
Of significant weight, standing firmly on each trunk shaped leg with a

curious expression; ancient encrustations throughout the surface.
According to Leloup, a Thermoluminescence authenticity test stated

the work was fired ca. 1250-1530.
$2,000 - 3,000
€1,700 - 2,600
46
52 | BONHAMS
47
DOGON/DJENNÉ PENDANT OF A MALE CONTORTIONIST, Like other cast copper-alloy ornaments, this pendant in the form of
INLAND NIGER DELTA, MALI, 14TH - 16TH CENTURY a male contortionist, with his sinuous legs pulled up along his body
Bronze with each foot curling over a shoulder, has smooth, sleek surface
height 2in (5.1cm) underneath the oxidation. The broad nose, block-like parallel lips and
large round eyes bear resemblance to works from the Djenné region.
Provenance
Hélène and Philippe Leloup, Paris $10,000 - 15,000
Private American Collection €8,600 - 13,000
Kate Ezra notes, ‘Early in this century, Louis Desplagnes wrote

of the “astonishing perfection” of Dogon blacksmiths, calling the
specialists who made copper ornaments...by the lost-wax process
“especially expert and delicate workers” (Le Plateau Central Nigerian,
Paris 1907, pp. 367-69). Unfortunately, he and subsequent authors
provided little information about the origin of copper and its smiths
among the Dogon. There is no geological or archaeological evidence
for copper mining in the Dogon area, although copper has been
traded and worked into ornaments there for centuries...The Dogon
may have originally obtained the metal through the trans-Saharan
trade networks that brought copper from Spain, North Africa, and
the Sahara to commercial centers of the Sahel and the Sudan. (Art
of the Dogon: Selections from the Lester Wunderman Collection, The
Metropolitan Museum of Art, New York, 1988, p. 110)
48
TWO DOGON/TELLEM ANTHROPOMORPHIC FIGURES, MALI wrote of the “astonishing perfection” of the ornaments created by
Wood, ritual patination local blacksmiths through the lost-wax process. These miniature
heights 4 1/2in (11.4cm) sculptures are ritual objects placed on personal altars in order to
anchor the spiritual power of the ancestor to whom the altar is
Provenance dedicated. According to Dogon thought, copper shares the essence
Charles D. Miller, III, St. James, New York, collected in Bandiagara of Nommo, a mythological being that represents order, purity, fertility,
area, Mali in the 1970s and life. The fact that copper is associated with Nommo enhances
these objects’ ability to balance negative forces controlled through
shrines and altars.
$1,500 - 2,000
€1,300 - 1,700
The diminutive figures present a smooth, undecorated surface and
sinuous limbs, and are most often represented seated. A number
49 of examples make the distinctive gesture of holding their hands to
DOGON PENDANT OF A SEATED FIGURE, PROBABLY their faces. That gesture has been open to interpretation, but the
KAMBARI REGION, MALI most commonly accepted is that it might echo a specific moment in
Bronze the installation ceremony of binu priests, responsible for tending to
height 2in (5.1cm) ancestral altars.’ (The Metropolitan Museum of Art, WEB, nd.)
Provenance Cf. Nesmith, Fisher H., Dogon Bronzes, “African Arts, vol. 12, no 2,
Gustave and Franyo Schindler, New York 1979, pp. 21-26, and
Private American Collection Leloup, Hélène, Dogon Statuary, Editions Amez, Strasbourg, 1994,
p. 150
Yaëlle Biro notes, ‘Small in scale but large in personality, these
[bronze] amulets, bracelets, rings, and pendants deserve close $10,000 - 15,000
examination as a significant Dogon artistic tradition. An early €8,600 - 13,000
twentieth-century European visitor to Dogon country in Mali
54 | BONHAMS
50
BANKONI ANTHROPOMORPHIC
STANDING FIGURE, INLAND NIGER
DELTA, MALI,
CIRCA 14TH - 17TH CENTURY
Terracotta
Provenance
Sambra Kamissoko, Bamako
Daybreak Thermoluminescence Test

completed in 1990 dating the work to 490
+/-180 years ago (circa 1320 - 1678)
According to R.A. Bravmann, “The Malian

terracottas occur over a vast region and in
a number of distinct styles. Human figures
predominate, sometimes of large size,
represented either singly or occasionally as
a couple...these terracottas are modeled in
elaborate detail, and in a highly distinctive
style. The human figures show a wealth
of jewellery and body ornaments, as well
as items of clothing. Body surfaces are
sometimes ornamented with impressed
stamps, or drawn lines or even with raised
bumps suggestive of some dreadful disease.
Elsewhere, notably to the far west towards
Bamako, occur terracottas of much simpler
style, in which body decoration is kept to
a minimum or omitted altogether. This has
been named the ‘Bankoni style’, after the
region where many such works are said to
have been found.” (Phillips, Tom, ed, Africa:
The Art of a Continent, Royal Academy of
Arts, London, 2004: p. 488)
$20,000 - 30,000
€17,000 - 26,000
56 | BONHAMS
51
MONUMENTAL DOGON SUPPORT POST,
MALI
Wood
Provenance
According to Ezra, these posts “support the

roof beams of togu na, open-sided shelters
forbidden to women where Dogon men meet
to rest, converse, and discuss issues of
importance to the community. Each village or
village quarter has a togu na, said to be one
of the first structures built when a village is
founded. The ceiling of a togu na is low, too
low for a man to stand up under, possibly
because ‘true’ speech is uttered by a person
sitting down.[...]
...The togu na posts are carved in relief,
usually with figures of women with enormous
conical breasts, but also with male figures
and images of animals, masks, and other
objects.” (The Art of the Dogon, Metropolitan
Museum of Art, New York, 1988, p. 88)
$6,000 - 8,000
€5,200 - 6,900

52
BAMANA MALE ANTELOPE HEADDRESS, MALI According to LaGamma, “This headdress unfolds as a series of
chiwara distinct but united arabesques, making the design as much an
Wood articulation of the surrounding space as it is an inwardly solid
height 30 3/16in (76.7cm) sculptural form. The interstices of the neck and mane form an
ellipse, which is echoed by the area between the antelope’s neck
Provenance and the underside of its muzzle. The sculptor has employed a rich
Jay C. Leff, Uniontown, PA vocabulary of graphic strokes: the line of the neck, the curves of the
Merton Simpson, New York head and horns, and the sharp, serrated dorsal contour. In such a
S. Thomas Alexander III, Saint Louis, acquired from the above in sophisticated visual tribute to the sogoni koun/ci wara tradition, the
1976 initiated eye can at once distinguish the separate animal references
Private American Collection within the composite form and appreciate the masterful manner in
which they have been combined into a single creation. As the eye
Exhibited travels across the sculpture, the features gradually but continually
New York, Genesis - Ideas of Origin in African Sculpture, The shift from the attenuated mouth, which is that of the anteater, to the
Metropolitan Museum of Art, November 19, 2002 - April 13, 2003 humanized head, the vertical extension of the elegant antelope horns,
Los Angeles, The Inner Eye: Vision and Transcendence in African and the ridge of the back, which suggests simultaneously the scales
Arts, LACMA, February 26 - July 9, 2017 of the pangolin and an abstract mane. Although these passages are
recognizable as discrete zoomorphic references, they nevertheless
Published blend convincingly into a harmonious vision of a transcendent being.”
LaGamma, Alisa, Genesis: Ideas of Origin in African Sculpture, New (Genesis: Ideas of Origin in African Sculpture, Metropolitan Museum
Haven and London: Yale University Press, 2002, pp. 97, no. 53 of Art, New York, 2002, p. 97)
Cotler, Holland, “A Show Bursting Out”, New York Times, November
22, 2002 $50,000 - 70,000
Robbins, Warren M., and Nancy Ingram Nooter, African Art in €43,000 - 60,000
American Collections, Survey 1989, Washington, D.C., and London:
Smithsonian Institution Press, 1989, pp. 73, no. 57
52 52
58 | BONHAMS
53
53
KURUMBA ANTELOPE HEADDRESS, NORTHERN AREA, as crests, on top of the head, although some examples have a visor-
BURKINA FASO like extension that covers the performer’s face.[...]
adoné
Wood with red, ochre, black, and white pigment Kurumba masks are used in three major events during the annual
height 52 1/2in (133.4cm) cycle: masks escort the corpse of dead male and female elders
to the tomb and supervise the burial on behalf of the spirits of the
Provenance ancestors of the clan. Weeks or even months later, during the dry
Purportedly collected in Africa during the early 1930s season, masks appear at funerals to honor the deceased and to free
Alder Collection, Switzerland the spirit to travel to the world of ancestors. Finally, just before the
Hélène and Philippe Leloup, Paris first rains in late May and June, masks appear at collective sacrifices
Private American Collection in which the ancestors are honored together with the spirits of the
protective antelope, Hippotragus koba, that is the totem of most
According to Christopher Roy, “The Kurumba carve antelope masks Kurumba clans.” (Art of the Upper Volta Rivers, Alain et Francoise
in two important styles. In the north...the antelope masks, called Chaffin, Paris, 1987, pp. 197-200)
adoné, are rather naturalistic, with no vertical plank, but with long,
slender horns. The neck may be long and graceful, the horns balance Cf. Roy (ibid.), figs. 162 and 163
a slender, projecting snout, and the entire mask is decorated with
colorful geometric patterns. The brilliant ochre brown, red, yellow, $10,000 - 15,000
and kaolin that are used by northern artists are the same pigments €8,600 - 13,000
that are used by potters across the Sahel. Northern masks are worn
60 | BONHAMS
54
54
BOBO MASK, BURKINA FASO may have added to it forward-curving antelope horns and a great
molo bird’s beak because it represents a character of Dwo that does not
Wood take human or animal form. Similarly, animal shapes do not mean
height 50 1/2in (128cm) the mask represents an animal, but recall the spirit of an animal
which saved the founding ancestor of the clan. Allegorical and
Provenance nonrepresentational, the masks incarnate the spirit of Dwo, the son
Dramane Mossi, Burkina Faso of Wuro.” (Art of the Upper Volta Rivers, Alain and Francoise Chaffin,
Charles D. Miller, III, St. James, New York Paris, 1987, p. 328).
Christopher Roy notes, “Among wooden masks [of the Bobo] the Carved from one piece of hard wood, the mask has natural surface
most important types are sacred masks molo and nwenke, escort erosion and wear indicative of significant age.
masks nyaga, and entertainment masks bole. The sacred masks
are representative, rather than representational masks, and do not $4,000 - 6,000
represent any living, tangible being, human or animal. As a result, €3,400 - 5,200
these masks are abstract and stylized. A mask with human features

55
55
BOBO ZOOMORPHIC MASK, BURKINA FASO
hombo
Wood, organic polychrome pigments
Provenance
Alan Brandt, New York
Bert Berman, New York, acquired from the above in 1969
Cf. Yale University Art Gallery, van Rijn African Art Archive No.
0092141 for a similar mask in the Charles B. Benenson collection at
Yale University Art Gallery, New Haven, Connecticut (collection no.
2006.51.436)
$3,000 - 5,000
€2,600 - 4,300
62 | BONHAMS
56
56
LARGE BWA ROOSTER MASK, BURKINA FASO
hombo
Wood, red, black and white pigments
Provenance
Merton D. Simpson Gallery
The Estate of Merton D. Simpson
Carved in large proportions, the circular crest with an indigenous

repair towering over the head.
Cf. Roy, Christopher, Art of the Upper Volta Rivers, Alain et Francoise
Chaffin, Paris, 1987, fig. 233
$4,000 - 6,000
€3,400 - 5,200

57
57
MOSSI JANUS ANTELOPE HEADCREST, BURKINA FASO Published
zazaigo Lundy, Brandon D., Rïm’s Unrest: Issues of Secrecy and the
Wood, cotton, fiber, pigments Multivalent Use of a Nalú Traditional Shrine Piece, African Arts, XL, 4,
height (not including braids) 14in (35.5cm) Winter 2016: 73, fig. 9
height (including braids) 31in (79cm)
Frederick Lamp notes, “What we know, or don’t know, about
Provenance Tönköngba’s function is complicated by a number of factors,
Private French Collection including the extreme secrecy enveloping the sculpture and the
Private Collection, California probability is was used in different ways by different groups. Clearly, it
served both as a shrine figure and as a dance headdress.” (Art of the
Cf. Roy, Christopher, Visions of Africa: Mossi, 5 Continents, Milan, Baga, The Museum of African Art, 1996, p. 140)
2015, fig. 41, for a very similar crest (zazaigo), probably from the
village of Kwaltangen, now in the Musée du Quai Branly, Paris (inv. The headdress can be seen as resembling the dolphin and has been
73.1996.11.13A) coined “Messenger Bearer from the Sea” by Lamp. It “can be seen
as a three-part form, including a dome-shaped helmet in the center,
a long, usually triangular shout protruding from the front, and at the
$2,500 - 3,500
rear, a pair of broad flat horns, usually connected at their tips.” (ibid,
€2,200 - 3,000
p. 138).
58 “The dolphin is especially interesting as a possible identity because it
BAGA NALU/KOKOLI/LANDUMA DANCE HEADDRESS, figures symbolically in many cultures as an ally of mankind, rescuing
GUINEA/GUINEA BISSAU people and gods in trouble, as in the Greek myths...” (ibid., p. 144)
tönköngba
Wood $15,000 - 20,000
length 29 1/2in (75cm) €13,000 - 17,000
Provenance
Amadou Sidime, Conakry, Guinea
Frederick Lamp, New Haven, Connecticut, acquired from the above
in 2008
64 | BONHAMS
59
GROUP OF SEVEN DAN PORTRAIT MASKS, SROHLAY CLAN,
LIBERIA/IVORY COAST
Wood, ritual patination
heights 5 - 9in (12.7 - 22.8cm)
Provenance
Charles D. Miller, III, St. James, New York, collected in the 1970s
$3,000 - 5,000
€2,600 - 4,300
66 | BONHAMS
60
60
DAN MASK, SROHLAY CLAN, LIBERIA/IVORY COAST
kaogle
Wood
Provenance
Exhibited
New York, A Liberian Sojourn, Queens Community College Art
Museum, October 2015
Finely carved in hard wood, the facial plane with the jaw line slightly
curving forward, a ridged crescent band on the forehead above a
vertical ridge line running down to the tip of the nose with abstractly-
carved flared nostrils, pierced circular eyes above raised cheek
bones, full lips curving outwards with open mouth and pointed chin
below, pierced around the edges for headdress attachment; fine dark
brown patina with natural erosion and pockets to the front, the back
with patina and wear indicative of significant age and use.
$6,000 - 8,000
€5,200 - 6,900

61 62
61 62
DAN MASK, LIBERIA/IVORY COAST DAN MASK, SROHLAY CLAN, LIBERIA/IVORY COAST
Wood, plant fiber coiffure gunyege
height 9 1/2in (24.2cm) Wood, pigments, cloth, porcupine spines
Provenance
Charles D. Miller, III, St. James, New York Provenance
Exhibited
New York, A Liberian Sojourn, Queens Community College Art Of classic oval form with circular eyes under arched brows, worn
Museum, October 2015 through at the center below the nose and lower lip, presumably
from excessive use, the open mouth inset with porcupine spines
Of classic oval form with domed forehead, round pierced eyes, representing teeth; fine dark brown patina, the back with glossy
naturalistic nose and pierced open mouth with extended, pursed lips patination, indicative of significant age and use.
and pointed chin with sewn-in fiber beard, a braided coiffure sewn on
top with long, dangling woven hair down the sides; fine dark brown $4,000 - 6,000
patina with significant wear and erosion on the face; the back with €3,400 - 5,200
fine patina and surface wear indicative of great use.
$4,000 - 6,000
€3,400 - 5,200
68 | BONHAMS
63
63
GREBO MASK, LIBERIA
Wood, organic pigments, fiber, nails
height 11in (28cm)
Provenance
Charles D. Miller, III, St. James, New York, collected near the Cavalla
River in the 1970s
Exhibited
New York, A Liberian Sojourn, Queens Community College Art
Museum, October 2015
Of deeply hollowed form with hinged jaw, a pair of horned, projecting

eyebrows arched high over each slit, coffee-bean eye, each of which
is bordered by flanged ears inset into the temples, the broad arched
nose above a projecting upper lip aligned with the lower lip when the
mouth closes; a nail for costume attachment and to ignite its spiritual
efficacy pierced into the top; organic white, red and orange pigments
highlight the front, remnants of hair applied to the mustache area with
old nails; dark brown patina with natural surface erosion and wear
indicative of significant age and use.
$4,000 - 6,000
€3,400 - 5,200

64
LARGE SENUFO FIGURE, IVORY COAST
pombia
Wood
height 52in (132cm)
Provenance
Merton D. Simpson, New York
The Estate of Merton D. Simpson
Of overall elongated form, the head with a crested coiffure, with

squared shoulders and the abdomen projecting outward, the legs
firmly planted into a cylindrical, hourglass form base, the arm with
delineations at elbows showing wear to each from use; dark brown
glossy patina.
$7,000 - 9,000
€6,000 - 7,800
70 | BONHAMS
65 66
65 66
DAN FIGURAL COMB, SROHLAY CLAN, LIBERIA/IVORY SENUFO BIRD-FORM HEDDLE PULLEY, IVORY COAST
COAST Wood
Wood height 7in (17.8cm)
Provenance
Provenance Private Collection, Paris
Charles D. Miller, III, St. James, New York, acquired from the female
keeper of hospitality (Wunkermian) of the Srohlay Clan in the 1970s $3,000 - 5,000
€2,600 - 4,300
Cf. Fischer, E. and Himmelheber, H., The Arts of the Dan in West
Africa, Museum Rietberg, Zurich, 1984, p. 116
$800 - 1,200
€690 - 1,000

67
KULANGO MALE FIGURE, IVORY COAST
Wood, kaolin, ochre pigment
Provenance
Evelyn Annenberg Jaffe Hall, New York
Thence by descent
$3,000 - 5,000
€2,600 - 4,300
68
BAULE SEATED FEMALE FIGURE, IVORY COAST
Wood, black pigment
Provenance
Sotheby’s, London, 20 November 1967 (lot 69)
Rene Withofs, Brussels
Sotheby’s London, 3 July 1989 (lot 72)
Yale University Art Gallery, van Rijn African Art Archive

No. 0002280
As Susan Vogel has noted, “Baule art has remained at

the core of the Western canon of African Art, even as
ideas about the canon have evolved and tastes have
changed. While the relative naturalism and consummate
workmanship of Baule objects were praised at the
outset, today these objects are appreciated for the subtle
rhythms and a beauty that stops short of sweetness. To
the Western eye, an essence of Baule style is a balanced
asymmetry that enlivens while suggesting stability and
calm.[...]
To an art historian, the most consistent feature of Baule

art, and one expressed across the wide variety of Baule
object types, is a kind of peaceful containment. Faces
tend to have downcast eyes and figures most often
hold their arms against the body, so that Westerners
might feel that the mood of much classical Baule art is
introspective. The silhouette is supple but closed.[...]
Baule style conveys vitality contained in order, as befits
objects that often serve people who are psychologically
distressed.” (Baule: African Art Western Eyes, Yale
University Art Gallery, 1997, pp. 26-28)
$20,000 - 30,000
€17,000 - 26,000
72 | BONHAMS
69 Behanzin, Sketch on Canvas,
145 x 71cm, Collection Histoire,
Musée du Quai Branley.
©Musée du Quai Branley
69
IMPORTANT FON THRONE, PROBABLY BELONGING TO KING French Colonel Dobbs arrived with his troops at the palace of
BEHANZIN OR ONE OF HIS BROTHERS, REPUBLIC OF BENIN Abomey. A month later Behanzin was formally exiled.
(FORMERLY DAHOMEY)
Wood Cf. Sotheby’s, Paris, 3 December 2004, lot 62 for a very similar
height 32in (81.2cm) example belonging to King Behanzin, sovereign of Abomey, 1889-
1894, collected by Colonel Dodds in 1892
Provenance
Lieutenant Crayssac, Inspector of the Colonies under the command Suzanne Preston Blier notes, “Dahomey kings frequently
of Colonel Dodds, ca. 1892 commissioned a number of stools, each having a special name.
Thence by descent through family This work’s [as in the example being presented] unusually large
Private Collection, France scale reflects a view of the Dahomey king as someone of almost
Delorme-Collin du Bocage, Paris-Drouot, 20 June 2007 (lot 85) superhuman size.” (Royal Arts of Africa, Laurence King Publishing,
Private Collection, acquired at the above London, 1998, p. 116)
This historically important throne, carved from one piece of wood,
Behanzin became the king of Dahomey on January 1, 1890 following consists of an elegantly curved seat with vertical sides accented in
the death of his father, King Glele. He is mostly remembered as the the center with two rows of an incised diamond design, the seat is
monarch who resisted colonial invasion by France of his territory supported by a tall, rectangular, openwork checkerboard panel on
for nearly two years. The French were putting pressure on the king the front and back, the sides with four rectangular slots, the square
to open up Dahomey’s port town of Cotonou in order to exploit base with four steps; beautiful, rich, dark-brown patina.
the resources of neighboring Niger. Conflict eventually developed
in 1891 when French and Dahomey troops clashed. Behanzin was $45,000 - 55,000
able to defeat the French army and a peace treaty was signed and €39,000 - 47,000
his authority remained in place. However, on November 17, 1892,
74 | BONHAMS
70
70
BAULE STANDING MONKEY, IVORY COAST
gbèkré
Wood, ritual patination
Provenance
Reportedly in a colonial collection prior to 1960
Private Collection, Paris
Trance diviners of the Baule own standing monkeys as receptacles

for spirits called mbra that are believed to enter the diviner during
trances. Owning a gbèkré enhances the diviner’s reputation. The
present work is in the classic form which typically exhibits much
tension and power, the legs are bent, the cup held at the front of the
chest with both hands, the face looks slightly up and the rounded
monkey head with squared jaw line and open mouth reveals long,
sharp teeth; encrusted throughout.
$8,000 - 12,000
€6,900 - 10,000
76 | BONHAMS
71
71 Y
EJAGHAM FIGURAL HEADDRESS, NIGERIA
Wood, cow hide, human hair, metal, cane
The figure seated on top of a woven cane base with legs lifted and
bent at the knees, the arms adjustable at the shoulder and bent up
with hands facing upwards, the enlarged head with hair attached and
multiple projecting knobs, large eyes pierced through and an open
projecting mouth inset with metal teeth; dark reddish-brown glossy
patina.
Provenance
Sotheby’s, New York, November 20, 1990, (lot 112)
$4,000 - 6,000
€3,400 - 5,200

72
TIV FIGURATIVE AX/SCEPTER, NIGERIA
Brass, copper, and iron
Provenance
‘Tiv clan leaders possessed regalia made of iron and copper alloys
that indicated their status and power. The head of this ax [as in
the present example] is recognizably “Tiv.” These regalia were
not limited to the Tiv, however, and the axes in particular were
documented among their eastern Jukun and Abakwariga neighbors,
whose sophisticated metalworking may have been adopted by Tiv
immigrants to the Benue River Valley.’ (Berns, Marla C., Richard
Faredon, Sidney Littlefield Kasfir (ed.), Central Nigeria Unmasked:
Arts of the Benue River Valley, Fowler Museum at UCLA, Los
Angeles, 2011:189, fig. 6.6)
$15,000 - 25,000
€13,000 - 22,000
78 | BONHAMS
73
73
YORUBA PUPPET FOR AN OSANYIN PRIEST, NIGERIA This small but imposing figure appears to be in flight and carries a
Glass beads, cloth, leather, stone bound rock in its left hand.
According to Henry Drewal, “Osanyin, god of healing, rules the forest,
Provenance the source of all leaves, roots, and other medicinal substances,
Nancy and Richard Bloch, Los Angeles as well as the abode of mysterious and often mischievous spirits
Sotheby’s London, 2 July 1990 (lot 90) such as Oge and Aroni. In certain ceremonies, priests of Osanyin
Hélène and Philippe Leloup, Paris are assisted by small puppets who speak in thin, squeaky voices,
Private American Collection play whistles, or ring bells as they prophesy for the patients who
come to consult them. Their playful demeanor and visionary abilities
Exhibited suggest some association with a host of forest spirits (iwin). (Beads,
New York, Yoruba Beadwork, Art of Nigeria, Pace Gallery, November Body, and Soul: Art and Light in the Yoruba Universe, UCLA Fowler
10, 1979 - January 5, 1980 Museum of Cultural History, 1998 p. 256)
New York, Yoruba Beadwork, Art of Nigeria, Pace Gallery, September
18 - December 25, 1980 $8,000 - 12,000
€6,900 - 10,000

74
IMPORTANT YORUBA FEMALE OGBONI SHRINE FIGURE/ According to Elsy Leuzinger, “The cult objects of the Ogboni society
EARTH SPIRIT, IJEBU OR OWU REGION, NIGERIA occupy a special position. They are not masks or ancestor figures,
onile but the large wooden agba drums and smaller statuettes, objects
Bronze and ornaments of brass. So far as one can work out from the secrets
height 25 1/2in (64.8cm) of the society, they are related to the cult of the earth spirit Onile.
It is possible that the relief figure with the catfish-legs on the agba
Provenance drums represent this Onile. When the agba drum sounds to call
Charles Wentinck, France the members of the society together, everyone is seized with terror,
Christie’s London, June 17, 1980 (lot 236) because the call always means that a sentence of death is to be
Christie’s New York, November 20, 1997 (lot 125) passed, usually as a punishment for the betrayal of the secrets of the
Private American Collection society. The blood of the sacrifice used to be poured over the drum.
At the initiation of a member of the Ogboni society the high priest laid
Exhibited an edan in his hand with an injunction to keep silence. The edan is a
Zürich, Die Kunst von Schwarz Afrika, Kunsthaus, October 31, 1970 pair of figures in brass on an iron staff, which are joined together by
- January 17, 1971 chains: they are perhaps Ogboni and his wife Erolu. The large edan
Essen, Germany, Afrikanische Kunstwerke. Kulturen am Niger, Villa always remain hidden in the shrine, stuck into the earth or laid on the
Hügel, March 25 - June 13, 1971 ground; smaller ones--e.g. pairs of heads with chains--are used as
The Hague, the Netherlands, Kunst uit Afrika-Rond de Niger de messenger staffs and give protection against the activities of witches.
Machtige River, Haags Gemeentemuseum, July 3 - September 5,
1971 In the Ogboni sanctuary there is also a larger figure of brass with
Berg en Dal, the Netherlands, Het Geheime Ogboni Genootschap. protruding eyes and a horn-like hair-style. Its hands form the Ogboni
Bronzen uit Zuidwest Nigeria, Afrika Museum, April 10 - August 1, greeting. Morton Williams investigated its secrets and learned that
1976 it was Ajagbo, a terrible Alafin of Oyo, who became a revenging
spirit and is invoked by the Ogboni society when a divine sentence
Published of death has to be passed. Ajagbo is identified with Onile, the earth
Bassani, E., and Frank Willet, One Hundred Notes on Nigerian Art spirit.
from Christie’s Catalogues 1974 - 1990, Milan: Quaderni Poro No. 7,
1991, plate 60 The style of works in metal and ivory is very different from the style
Dobbelmann, Dr. Theo A. M. H., Het geheime Ogboni-genootschap. of carving in the Yoruba country. This phenomenon is no doubt to
Bronzen uit Zuidwest Nigeria, Berg en Dal: Afrika Museum, 1976, be explained by its completely different function.” (The Art of Black
plate 109 Africa, translated by R.A. Wilson, the New York Graphic Society, New
Leuzinger, Elsy, Kunst uit Afrika: Rond de Niger - De Machtige Rivier, York, 1972, pp 174-176.)
The Hague: Haags Gemeentemuseum, 1971, no. L11
Leuzinger, Elsy, Kunsthaus Zürich: Die Kunst von Schwarz-Afrika, $180,000 - 220,000
Zurich: Kunsthaus, 1970, pp. 178, no. L11 €160,000 - 190,000
Yale University Art Gallery, van Rijn African Art Archive No. 0023326
74 74 74
80 | BONHAMS
82 | BONHAMS
75 76
75 76
YORUBA CARYATID IFA DIVINATION BOWL, NIGERIA BAMILEKE CHIEF’S STOOL, GRASSFIELDS REGION,
Wood, metal repairs CAMEROON
height 7 1/4in (18.4cm) Wood
16 by 12in (40.6 by 30.5cm)
Provenance
Charles D. Miller, III, St. James, New York, collected in Cotonou, Provenance
Republic of Benin, in 1968 Private American Collection
Intricately carved from one piece of wood with six alternating US$1,000 - 1,500
standing male and seated female figures as supports around the €860 - 1,300
base, indigenous repairs to the bowl; dark encrusted patina with
signs of great use.
$3,000 - 5,000
€2,600 - 4,300
84 | BONHAMS
77
IBIBIO MASK FOR THE EKPO SOCIETY, NIGERIA
idiok
Wood, kaolin, pigments, fiber, leather
Provenance
Roland de Montaigu Collection
Guy Loudmer Paris, 25 June 1992 (lot 14)
Herbert M. Cole notes, “Ekpo--the Ibibio word for ancestor--

members danced light colored mfro and black or dark colored idiok
masks that evoke benign and more numerous malevolent ancestors,
respectively. Ancestors are responsible for advising and protecting
their living descendants. The masks partake of the Beauty/Beast
modes discussed above, even if some of the dark, large-featured
masks have a benign role in social control. (Invention and Tradition:
The Art of Southeastern Nigeria, Prestel, 2012, p. 75)
$20,000 - 30,000
€17,000 - 26,000

78
IGBOMINA, NORTHERN YORUBA PAIR ...Nothing like these figures was collected This extremely rare paternity figure stands
OF MALE AND FEMALE FIGURES, by Gebauer. They are all carved of medium- firmly on enlarged feet, slightly leaning
NIGERIA hard wood and have a thickly encrusted towards his left side and gazing upward,
ibeji surface. Their flexed arms are held away the child riding on his lower back is highly
Wood, beads from the body, their large, firmly planted feet abstract, and the entire surface has been
heights 11 1/4in (28.5cm) extend as far behind the ankle as before (Arts heavily encrusted with ritual patination over
d’Afrique Noire 1973, no. 7:2). Their most many years of cultural use.
Provenance characteristic features are their upraised
Charles D. Miller, III, St. James, New York bearded chins and open, screaming mouths. $25,000 - 35,000
Another peculiarity: all the figures known €22,000 - 30,000
Cf. Stoll, Mareidi and Gert, Ibeji - Twin to me are males, and many carry babies
Figures of the Yoruba, Hub. Hoch, on their backs.’ (For Spirits and Kings:
Dusseldorf, Germany, 1980, figs. 211-225 African Art from the Tishman Collection,
The Metropolitan Museum of Art, New York,
1981, p.159)
$4,000 - 6,000
€3,400 - 5,200
79
RARE KAKA PATERNITY FIGURE,
CAMEROON
Wood
Provenance
According to Susan Vogel, Kaka ‘is a Fulani

name the Germans gave to the Mfumte,
Mbem, and Mbaw (Ntem), a cluster of
peoples living in scattered settlements just
south of the Donga River. Though Paul
Gebauer collected a number of figures in
the “Kaka” and Mambila area, it is hard to
define clear regional styles--if they exist--on
the basis of his documentation. Gebauer
attributes to the Mfumte a figure that serves
to localize one small group of highly abstract
and dynamically conceived figures that bear
some relationship to Mambila style. However,
in the Mfumte area he also collected other
figures in a style we would consider pure
Mambila...
86 | BONHAMS
88 | BONHAMS
80 81
KOTA RELIQUARY FIGURE, GABON MAKONDE HELMET MASK, MOZAMBIQUE
Wood, metal lipiko
height 23 1/2in (59.7cm) Wood, hair
Provenance
Private Collection, Paris, reportedly acquired in the 1930s Provenance
Private French Collection Christie’s, London, 1 December 1982 (lot 205)
Baudouin de Grunne, Brussels
The oval face with horizontal eye slits composed of rolled metal, Bernard de Grunne, Brussels
below a large domed forehead bordered by two crescent flanges Private American Collection
and surmounted by a crescent-form with the points, highlighted with
bound spiral metal strips, curving downward below the line of the Exhibited
forehead, the columnar neck on an openwork lozenge-form base, Brussels, Utotombo - L’Art de l’Afrique Noire dans les Collections
the front covered throughout with crinkled metalwork with varying Privées Belges, Palais des Beaux Arts, March 25 - June 5, 1968
geometric designs to the sides and top flanges.
Published
$8,000 - 12,000 De Heusch, Luc et al, Utotombo: Kunst uit Zwart-Afrika in Belgisch
€6,900 - 10,000 Privé-Bezit, Paris: Palais des Beaux Arts, 1988, pp. 258, no. 281
Of classic Makonde form carved from one piece of very light wood,
deeply hollowed with heavily adzed surface inside, the face with full
lips and heavy eyes, the mouth slightly open with finely pierced row
of teeth; varied light/dark brown patina with wear indicative of much
cultural use.
$12,000 - 18,000
€10,000 - 16,000

82
SUPERB LUBA FEMALE CARYATID STOOL, DEMOCRATIC According to Mary Nooter and Alan Roberts, ‘The soul of each Luba
REPUBLIC OF THE CONGO kingship is literally enshrined in a throne. When a Luba king died,
Wood, beads, ritual patination his royal residence was preserved for posterity as a “spirit capital,”
height 15 7/8in (40.3cm) a lieu de mémoire where his memory was perpetuated through
a spirit medium called a “Mwadi” who incarnated his spirit. This
Provenance site became known as a “kitenta” or “seat” -- a symbolic seat of
Gustave and Franyo Schindler, New York remembrance and power, which would continue the king’s reign. The
Private American Collection king’s stool, a concrete symbol of this larger and more metaphysical
“seat,” expresses the most fundamental precepts of Luba power and
Exhibited dynastic succession.’ (Memory: Luba Art and the Making of History,
New York, Masks and Sculptures from the Collection of Gustave and The Museum of African Art, New York, 1996, p. 17, Cat. 1).
Franyo Schindler, The Museum of Primitive Art, November 2, 1966 -
February 5 1967 Furthermore, ‘Seats are the most important emblem of Luba
New York, Sets, Series and Ensembles in African Arts, The Center for kingship, and serve to generate memory and history. Not only is
African Art, July 17 - October 27, 1985 a Luba King’s place referred to as a “seat of power” (kitenta), but
Los Angeles, The Inner Eye: Vision and Transcendence in African seating is a metaphor for the many levels and layers of hierarchy and
Arts, LACMA, February 26 - July 9, 2017 stratification that characterize Luba royal prerogative. Stools figured
prominently in royal investiture rites, signaling the moment when
Published the new ruler swore his oath of office and addressed his people for
Schindler, Gustave, Masks and Sculptures from the Collection of the first time as king. To attract the spirit world, the female figure
Gustave and Franyo Schindler, New York: The Museum of Primitive supporting this stool [as in the present example] bears the marks
Art, 1966, no. 19 of Luba identity and physical perfection, including scarifications,
Preston, George, Susan Vogel (introduction), and Polly Nooter an elegant coiffure, gleaming black skin, and a serene, composed
(catalogue), Sets, Series, and Ensembles in African Art, New York: attitude.’ (p. 18, Cat. 2)
The Center for African Art and Harry N. Abrams, Inc., 1985, pp. 77,
no. 80 $200,000 - 300,000
€170,000 - 260,000
82 82
90 | BONHAMS
92 | BONHAMS
83
TABWA PADDLE WITH STANDING FEMALE FIGURE,
DEMOCRATIC REPUBLIC OF THE CONGO
Wood, ritual patination, beads
Provenance
Annie and Jean-Pierre Jernander Collection, Brussels
Quay-Lombrail Paris, June 26, 1996 (lot 15)
Private American Collection, acquired in 1996
Exhibited
Tabwa - The Rising of a New Moon - A Century of Tabwa Art:
Washington, D.C., National Museum of African Art, Smithsonian
Institution, January - March 1986
Ann Arbor, Michigan, University of Michigan Museum of Art, April -
August 1986
Tervuren, Belgium, Royal Museum of Central Africa, September -
October 1986
Published
Kerchache, Jacques, Jean-Louis Paudrat and Lucien Stephan,
L’Art Africain, L’Art et les Grandes Civilizations, 18, Paris: Editions
Mazenod, 1988. English translation: Art of Africa. New York: Harry N.
Abrams, 1993, fig. 1015
Maurer, Evan, and Allen Roberts, Tabwa - The Rising of a New Moon,
Ann Arbor: University of Michigan Museum of Art; Washington, D.C.:
National Museum of African Art, Smithsonian Institution, 1985, fig.
278
The delicately carved female figure stands gracefully on the upper

portion of the paddle, balanced with her knees slightly bent and
hands resting on the abdomen, her body is decorated down her front
and back with a linear row of raised scarification; rich, dark-brown
patina.
$60,000 - 90,000
€52,000 - 78,000
84
PENDE MASK, DEMOCRATIC REPUBLIC OF THE CONGO
muyombo
Wood, fiber, cloth, pigments
overall height 22in (60cm)
Provenance
Sotheby’s, London, July 3, 1989, Lot 168
Carefully carved with slightly asymmetrical features, a bulbous

forehead above a raised, continuous eyebrow, slit eye openings, a
turned-up nose and a triangular, low-relief mouth, raised scarification
on the temples and along the chin line, the beard with an elaborate
pattern of geometric design with raffia and cloth attached; the head
with a fiber coiffure.
$3,000 - 5,000
€2,600 - 4,300
96 | BONHAMS
85
WOYO VESSEL COVER, DEMOCRATIC REPUBLIC OF THE Werner Gillon notes, “A product unique to the Woyo are carved
CONGO wooden pot lids, used by a wife to remind her husband of any
Wood shortcomings, the design being based on proverbs whose
diameter 7in (17.8cm) meanings are well known to all. A lid might have a high relief carving
incorporating three firestones and the proverb illustrated would
Provenance be that three stones are needed to support the pot, meaning that
Harold Rome, New York all good things come in threes and in marriage that would require
Marc and Denyse Ginzberg, New York that the husband must supply clothes, the wife must cook, and
Lance Entwistle, London there must be children. On a potlid where the stones are scattered
Private American Collection and cannot support the pot, it means that something is amiss and
by using the lid, one of several in her armoury, the wife asks the
Literature husband to right matters. Even in the matrilineal society the men
Walker, African Women / African Art, 1976, no. 11 eat apart and often guests, who are meant to see the lid, are asked
Gillon, Werner, Collecting African Art, London, 1979, no. 121 to arbitrate. In the example illustrated the central figure is in the act
Ginzberg, Marc, The African Art Collection of Marc and Denyse of divining. The egg-shaped object in the right foreground is a local
Ginzberg, 2003, no. 58 fruit, chialimioko, which appears on most Woyo potlids, and the other
items refer to divers proverbs.” (Collecting African Art, London, 1979,
Yale University Art Gallery, van Rijn African Art Archive No. 0051621 p. 103)
$6,000 - 8,000
€5,200 - 6,900

86
EXCEPTIONAL LEGA MASK, DEMOCRATIC REPUBLIC OF general, special costumes (in barkcloth, fibers or leaves) or distinctive
THE CONGO paraphernalia (swords, staffs, scepters) are not associated with any
idimu of the masks -- features that are of great significance in other areas
Wood, pigments of Zaire...
The differences between Lega masks and those of other peoples of
Provenance Zaire point to their very special usage in Bwami initiations. From what
Aaron Furman, New York, 1960s we know through detailed studies available on other Zaire arts, the
Jay C. Leff, Uniontown, PA significance and usage of masks among the Lega are unique.’
Sotheby’s Parke Bernet New York, April 22, 1967 (lot 109)
Hélène and Philippe Leloup, Paris Biebuyck continues (p. 54)”...larger masks are fundamentally different
Private American Collection in function, meaning and manner of ownership from the maskettes.
The wooden idumu, for example, are stylistically and morphologically
Exhibited similar to the wooden lukwakongo, but they are large, have beards
Paris, La Sculpture des Lega, Galerie Hélène et Philippe Leloup, June and are mostly almost completely whitened, at least when they occur
14 - July 30, 1994 in the rites. They form part of the collectively controlled baskets and
may be used in either yananio or kindi initiation rites. In some cases
Published they are hung on a specially erected fence and surrounded by the
Biebuyck, Daniel, La Sculpture des Lega, Paris: Galerie Hélène et individually owned maskettes, in which case the idimu represent what
Philippe Leloup, 1994, pp. 172 - 173, no. 66 we would consider to be the arch-patriarch or the primordial founder
of the group, or the originator of the particular mask rite in that
According to Biebuyck (ibid, p. 46), ‘The Bwami initiates differentiate group. In some initiation rites, the mask may be worn by a preceptor
between five generic type of masks: lukwakongo, lukungu, kayamba, high on the forehead, the beard hanging before the face, or on the
idumu, muminia. The words “mask”, “face mask”, “hand mask”, side of the head.”
“maskette”, or “horned mask” are not real equivalents for the Lega
terms. Differentiation is based not only on form but implies numerous The present work has a heavily-adzed surface and is decorated with
other criteria, such as: type of material used (wood versus ivory/ red and white organic pigments on the heart-shaped facial plane.
bone), size (maskettes versus large masks large enough to cover the It has, according to Biebuyck, several particularly special features
face or most of the face), form (masks and maskettes without horns including large open spherical eyes of unequal size, a crooked and
and those with horns), mode of usage, ownership and function. arched nose, a large, open rectangular mouth and thick lips with
indentations. The lower half of the interior with darkened, shiny,
All Lega masks are anthropomorphic, none are zoomorphic; they leather-like surface shows evidence of much age and use within the
are stylized representations of the human face, even those with Lega culture.
horns. No Lega mask combines human and animal facial traits, or
represents complex mythical or undefinable beings. There are no $125,000 - 175,000
construction masks...no enormous masks...no helmet masks...no €110,000 - 150,000
masks with elaborate superstructures...no polychrome masks. In
86
98 | BONHAMS
87
HUNGANA STANDING MAGICAL MALE FIGURE, DEMOCRATIC According to Christopher Roy, “The Hungana are a small group that
REPUBLIC OF THE CONGO occupies the west bank of the Kwilu River in Zaire. The Pende live
Wood to the southeast, and the Mbala are their immediate neighbors to
height 24in (61cm) the west. They are closely related culturally to the Mbala, and their
sculptural forms have been heavily influenced by Mbala art. The
Provenance Hungana are best known as smiths, and in fact the root of their name
Dr. Michel Gaud, Saint-Tropez, France hunga means forge. They live in widely dispersed settlements, often
Sotheby’s, London, 29 November 1993 (lot 121) comprising the minority of larger Yaka, Suku, and Mbala villages.
Private American Collection The Hungana style is distinguishable by the striking hairstyle that was
once worn in the region, consisting of three long, parallel plaits of hair
Exhibited extending from the brows far down the back. In addition, the style
Cannes, La Rencontre du Ciel et de la Terre, Musée de la Castre, is characterized by a thin, cylindrical neck that rises from a large,
1990 swelling torso. The head projects far forward. Like the figures carved
by other groups in the area, especially the Teke, Yaka, and Suku, the
Published arms are bent at the elbows and the hands touch the chin.” (Art and
Arts Premiers d’Afrique Noire, Lyon: 1982, no. 32 Life in Africa: Selections from the Stanley Collection, The University of
La Rencontre du Ciel et la Terre, Cannes: Ville de Cannes, Z’editions, Iowa Museum of Art, 1985, fig. 95)
1990, no. 105
$40,000 - 60,000
Yale University Art Gallery, van Rijn African Art Archive No. 0013199 €34,000 - 52,000
87
100 | BONHAMS
88
88
LOBALA ZOOMORPHIC SLIT-DRUM, DEMOCRATIC ...A slit gong is an idiophone, a wooden drum without a drumhead.
REPUBLIC OF THE CONGO It is formed by hollowing out a log through a long narrow opening.
Wood, metal One edge of the opening is thicker and emits a low tone when
length 94in (238.8cm) struck, while the thinner side gives a high tone. Slit gongs are played
with sticks, the ends of which are sometimes covered with rubber.
Provenance Because slit gongs can mimic the tones of human speech, they are
Pierre Dartevelle, Brussels, field collected in 1987 in Yangere/Lobala used to transmit messages over long distances. They are also used
area of the Congo to play music.” (Smithsonian Institute, WEB, nd)
Philippe Guimiot, Brussels
Private American Collection, acquired in 1990 This monumental slit gong is masterfully carved to represent the
dynamism of a bushcow. The large ovoid body, carved with a border
Cf. Yale University Art Gallery, van Rijn African Art Archive No. of zigzags, stands on four bowed rectangular legs, on each end is a
0123300 for a very similar example, now in the Minneapolis Institute narrow, tapering and gracefully carved “head” and “tail” that create
of Arts, Minneapolis, Minnesota, sold at Sotheby’s, New York, May an element of aloofness to the otherwise immensity of the work; fine
14, 2010, lot 145 light brown patina with an old indigenous metal repair to the inside
of one leg.
“Ownership of elaborately carved slit gongs was widespread
among chiefs in north central Congo and southern Central African $70,000 - 90,000
Republic... €60,000 - 78,000
102 | BONHAMS
89 90
MANGBETU GOURD DIPPER, DEMOCRATIC REPUBLIC OF MANGBETU DRUM, UELE REGION, DEMOCRATIC REPUBLIC
THE CONGO OF THE CONGO
Wood, basketry nedundu
length 4 13/16in (12.2cm) Wood
Provenance
Tribal Arts Gallery, New York Provenance
Marcia and Irwin Hersey, New York Musée Instrumental du Conservatoire Royal,Brussels, loan no. 4554
Sotheby’s New York, 8 May 1989 (lot 244) (written twice in white marker)
Private American Collection Pierre Dartevelle, Brussels
Philippe Ratton, Paris
Yale University Art Gallery, van Rijn African Art Archive No. 0088622 Morris Pinto, New York and Geneva
Of delicate stature both in form and artistry, the exterior finely incised Private American Collection
with a female figure with stippled body and large headdress seated
on a stool, surrounded by various weapons, a bird and a harp; Marie-Thérèse Brincard notes, “Found in the Uele region among the
intricately woven basketry handle attached. Mangbetu, Zande and Manivu groups, these Mangbetu slit gongs
embody pure abstraction of form. Elegance and simplicity in the
$10,000 - 15,000 curvilinear silhouettes characterize these instruments.” (Sounding
€8,600 - 13,000 Forms: African Musical Instruments, New York, 1989, p. 128)
$70,000 - 90,000
€60,000 - 78,000
104 | BONHAMS
91 92
91 92
LUBA JANUS PRESTIGE STAFF, DEMOCRATIC REPUBLIC OF TEKE STANDING FIGURE, DEMOCRATIC REPUBLIC OF THE
THE CONGO CONGO
kibango Wood, fiber, cloth
Wood, metal, pigments, bullet cartridge height 10 1/2in (26.7cm)
Provenance
Provenance Charles D. Miller, III, St. James, New York, collected in Cotonou,
Daniel Hourdé, Paris Republic of Benin, in 1968
Philippe Ratton, Paris
Private Collection, Massachusetts
$3,000 - 5,000
Charles D. Miller, III, St. James, New York
€2,600 - 4,300
The handle wrapped in dimpled metal running up between the heads
and the cylindrical top above, each head with pierced holes on the
top, and each with almond-shaped eyes and elongated noses above
diminutive mouths, a bullet cartridge pierced into the top, the bottom
of the shaft carved to a point.
Cf. Yale University Art Gallery, van Rijn African Art Archive no.
0064428 for a similar staff
$5,000 - 7,000
€4,300 - 6,000
106 | BONHAMS
93 94
93 Y 94
YAKA FIGURE, DEMOCRATIC REPUBLIC OF THE CONGO YAKA ZOOMORPHIC MASK, DEMOCRATIC REPUBLIC OF THE
biteki CONGO
Wood, fiber, pigments, shell, antler Wood, pigments, raffia, plant fibers
height 11 1/4in (28.5cm) height 23 1/2in (59.7cm)
Provenance Provenance
Private Collection, Santa Fe, New Mexico, acquired in Austria Richard Monsein, California
Arthur Bourgeois (Art of the Yaka and Suku, Alain and Francoise
Chaffin, Paris, 1984) notes, “...statuettes, which are called biteki, are $3,000 - 5,000
used as receptacles or supports for magical preparations.” (p. 107) €2,600 - 4,300
The bird, “njila or kanjila serves as protection and to promote fertility.”
(p. 116)
cf. Bourgeois, Arthur P., Visions of Africa: Yaka, 5 Continents Press,

2015, pl. 36
$4,000 - 6,000
€3,400 - 5,200

CONDITIONS OF SALE
The following Conditions of Sale, as amended by any resell the purchased property, at public auction and/or by five (5) business days following the date of the sale. If not
published or posted notices or verbal announcements private sale, and in such event the purchaser shall be liable so removed, a storage fee of $5.00 per lot per day will
during the sale, constitute the entire terms and conditions for the payment of all consequential damages, including any be payable to us by the purchaser beginning at the close
on which property listed in the catalog shall be offered for deficiencies or monetary losses, and all costs and expenses of the 21st day following the sale, and we may thereafter
sale or sold by Bonhams & Butterfields Auctioneers Corp. of such sale or sales, our commissions at our standard transfer such property to an offsite warehouse at the
and any consignor of such property for whom we act as rates, all other charges due hereunder, all late charges, purchaser’s risk and expense. Accounts must be settled in
agent. If live online bidding is available for the subject collection costs, attorneys’ fees and costs, expenses full before property will be released. Packing and handling
auction, additional terms and conditions of sale relating and incidental damages. In addition, where two or more of purchased lots are the responsibility of the purchaser.
to online bidding will apply; see www.bonhams.com/ amounts are owed in respect of different transactions by Bonhams can provide packing and shipping services for
WebTerms for the supplemental terms. As used herein, the purchaser to us, to Bonhams 1793 Limited and/or to certain items as noted in the “Buyer’s Guide” section of the
“Bonhams,” “we” and “us” refer to Bonhams & Butterfields any of our other affiliates, subsidiaries or parent companies catalog.
Auctioneers Corp. worldwide within the Bonhams Group, we reserve the
right to apply any monies paid in respect of a transaction 9. The copyright in the text of the catalog and the
1. As used herein, the term “bid price” means the price at to discharge any amount owed by the purchaser. If all photographs, digital images and illustrations of lots in the
which a lot is successfully knocked down to the purchaser. fees, commissions, premiums, bid prices and other sums catalog belong to Bonhams or its licensors. You will not
The term “purchase price” means the aggregate of (a) the due to us from the purchaser are not paid promptly as reproduce or permit anyone else to reproduce such text,
bid price, (b) a PREMIUM retained by us and payable by provided in these Conditions of Sale, we reserve the right photographs, digital images or illustrations without our prior
the purchaser EQUAL TO 25% OF THE FIRST $250,000 to impose a finance charge equal to 1.5% per month (or, if written consent.
OF THE BID PRICE, 20% OF THE AMOUNT OF THE lower, the maximum nonusurious rate of interest permitted
BID PRICE ABOVE $250,000 UP TO AND INCLUDING 10. These Conditions of Sale shall bind the successors
by applicable law), on all amounts due to us beginning on and assigns of all bidders and purchasers and inure to
$4,000,000, AND 12.5% OF THE AMOUNT OF THE BID the 31st day following the sale until payment is received, in
PRICE OVER $4,000,000, and (c) unless the purchaser the benefit of our successors and assigns. No waiver,
addition to other remedies available to us by law. amendment or modification of the terms hereof (other than
is exempt by law from the payment thereof, any Arizona,
California, Colorado, Connecticut, Florida, Georgia, 3. We reserve the right to withdraw any property and to posted notices or oral announcements during the sale) shall
Illinois, Massachusetts, Nevada, New Jersey, N ew divide and combine lots at any time before such property’s bind us unless specifically stated in writing and signed by
York, Pennsylvania, Texas, Virginia, Washington, D.C., auction. Unless otherwise announced by the auctioneer us. If any part of these Conditions of Sale is for any reason
Washington state, or other state or local sales tax (or at the time of sale, all bids are per lot as numbered in the invalid or unenforceable, the rest shall remain valid and
compensating use tax) and other applicable taxes. catalog and no lots shall be divided or combined for sale. enforceable.
2. On the fall of the auctioneer’s hammer, the highest bidder 4. We reserve the right to reject a bid from any bidder, to 11. These Conditions of Sale and the purchaser’s and our
shall have purchased the offered lot in accordance and split any bidding increment, and to advance the bidding in respective rights and obligations hereunder are governed
subject to compliance with all of the conditions set forth any manner the auctioneer may decide. In the event of any by the laws of the State of California. By bidding at an
herein and (a) assumes full risk and responsibility therefor, dispute between bidders, or in the event the auctioneer auction, each purchaser and bidder agrees to be bound
(b) if requested will sign a confirmation of purchase, and (c) doubts the validity of any bid, the auctioneer shall have sole by these Conditions of Sale. Any dispute, controversy or
will pay the purchase price in full or such part as we may and final discretion either to determine the successful bidder claim arising out of or relating to this agreement, or the
require for all lots purchased. No lot may be transferred. or to re-offer and resell the article in dispute. If any dispute breach, termination or validity thereof, brought by or against
Any person placing a bid as agent on behalf of another arises after the sale, our sales records shall be conclusive Bonhams (but not including claims brought against the
(whether or not such person has disclosed that fact or the in all respects. consignor by the purchaser of lots consigned hereunder)
identity of the principal) may be jointly and severally liable shall be resolved by the procedures set forth below.
with the principal under any contract resulting from the 5. If we are prevented by fire, theft or any other reason
whatsoever from delivering any property to the purchaser or MEDIATION AND ARBITRATION PROCEDURES
acceptance of a bid.
a sale otherwise cannot be completed, our liability shall be (a) Within 30 days of written notice that there is a dispute, the
Unless otherwise agreed, payment in good funds is due limited to the sum actually paid therefor by the purchaser parties or their authorized and empowered representatives
and payable within five (5) business days following the and shall in no event include any compensatory, incidental shall meet by telephone and/or in person to mediate their
auction sale. Whenever the purchaser pays only a part of or consequential damages. differences. If the parties agree, a mutually acceptable
the total purchase price for one or more lots purchased, we mediator shall be selected and the parties will equally share
may apply such payments, in our sole discretion, to the lot 6. If a lot is offered subject to a reserve, we may implement
such reserve by bidding on behalf of the consignor, whether such mediator’s fees. The mediator shall be a retired judge
or lots we choose. Payment will not be deemed made in or an attorney familiar with commercial law and trained
full until we have collected good funds for all amounts due. by opening bidding or continuing bidding in response to
other bidders until reaching the reserve. If we have an in or qualified by experience in handling mediations. Any
Payment for purchases may be made in or by (a) cash, (b) interest in an offered lot and the proceeds therefrom other communications made during the mediation process shall
cashier’s check or money order, (c) personal check with than our commissions, we may bid therefor to protect such not be admissible in any subsequent arbitration, mediation
approved credit drawn on a U.S. bank, (d) wire transfer interest. CONSIGNORS ARE NOT ALLOWED TO BID ON or judicial proceeding. All proceedings and any resolutions
or other immediate bank transfer, or (e) Visa, MasterCard, THEIR OWN ITEMS. thereof shall be confidential, and the terms governing
American Express or Discover credit, charge or debit card. arbitration set forth in paragraph (c) below shall govern.
A processing fee will be assessed on any returned checks. 7. All statements contained in the catalog or in any bill
of sale, condition report, invoice or elsewhere as to (b) If mediation does not resolve all disputes between
Please note that the amount of cash notes and cash the parties, or in any event no longer than 60 days after
equivalents that can be accepted from a given purchaser authorship, period, culture, source, origin, measurement,
quality, rarity, provenance, importance, exhibition and receipt of the written notice of dispute referred to above,
may be limited. the parties shall submit the dispute for binding arbitration
literature of historical relevance, or physical condition
To the fullest extent permitted by applicable law: The ARE QUALIFIED STATEMENTS OF OPINION AND NOT before a single neutral arbitrator. Such arbitrator shall be
purchaser grants us a security interest in the property, and REPRESENTATIONS OR WARRANTIES. No employee or a retired judge or an attorney familiar with commercial
we may retain as collateral security for the purchaser’s agent of Bonhams is authorized to make on our behalf or law and trained in or qualified by experience in handling
obligations to us, any property and all monies held or on that of the consignor any representation or warranty, oral arbitrations. Such arbitrator shall make all appropriate
received by us for the account of the purchaser, in our or written, with respect to any property. disclosures required by law. The arbitrator shall be drawn
possession. We also retain all rights of a secured party from a panel of a national arbitration service agreed to
under the California Commercial Code. If the foregoing 8. All purchased property shall be removed from the by the parties, and shall be selected as follows: (i) If the
conditions or any other applicable conditions herein are not premises at which the sale is conducted by the date(s) national arbitration service has specific rules or procedures,
complied with, in addition to all other remedies available to and time(s) set forth in the “Buyer’s Guide” portion of this those rules or procedures shall be followed; (ii) If the national
us and the consignor by law, we may at our election: (a) catalog. Property designated with a “W” and associated arbitration service does not have rules or procedures for the
hold the purchaser liable for the full purchase price and any purchased lots, if not removed promptly following sale, will selection of an arbitrator, the arbitrator shall be an individual
late charges, collection costs, attorneys’ fees and costs, be transferred to an offsite warehouse at the purchaser’s jointly agreed to by the parties. If the parties cannot agree
expenses and incidental damages incurred by us or the risk and expense, as set forth in more detail in the “Buyer’s on a national arbitration service, the arbitration shall be
consignor arising out of the purchaser’s breach; (b) cancel Guide.” Purchased property that is permitted to remain conducted by the American Arbitration Association, and the
the sale, retaining as liquidated damages all payments onsite at Bonhams’ facility should be removed at the arbitrator shall be selected in accordance with the Rules of
made by the purchaser; and/or (c) cancel the sale and/or purchaser’s expense not later than 5:00 p.m. Pacific Time
LA-CA/MAIN/9.2017
CONDITIONS OF SALE - CONTINUED
the American Arbitration Association. The arbitrator’s award LIMITED RIGHT OF RESCISSION REMEDY AGAINST BONHAMS FOR ANY REASON
shall be in writing and shall set forth findings of fact and WHATSOEVER IS THE LIMITED RIGHT OF
legal conclusions. If within one (1) year from the date of sale, the original RESCISSION DESCRIBED IN THIS SECTION.
purchaser (a) gives written notice to us alleging that
(c) Unless otherwise agreed to by the parties or provided the identification of Authorship (as defined below) of “Authorship” means only the identity of the creator, the
by the published rules of the national arbitration service: such lot as set forth in the BOLD TYPE heading of period, culture and source or origin of the lot, as the
the catalog description of such lot (as amended by any case may be, as set forth in the BOLD TYPE heading of
(i) the arbitration shall occur within 60 days following the saleroom notices or verbal announcements during the the print catalog entry. The right of rescission does not
selection of the arbitrator; sale) is not substantially correct based on a fair reading extend to: (a) works of art executed before 1870 (unless
(ii) the arbitration shall be conducted in the designated of the catalog (including the terms of any glossary these works are determined to be counterfeits created
location, as follows: (A) in any case in which the subject contained therein), and (b) within 10 days after such since 1870), as this is a matter of current scholarly
auction by Bonhams took place or was scheduled to notice returns the lot to us in the same condition as at opinion which can change; (b) titles, descriptions, or
take place in the State of New York or Connecticut or the the time of sale, and (c) establishes the allegation in the other identification of offered lots, which information
Commonwealth of Massachusetts, the arbitration shall notice to our satisfaction (including by providing one or normally appears in lower case type below the BOLD
take place in New York City, New York; (B) in all other more written opinions by recognized experts in the field, TYPE heading identifying the Authorship; (c) Authorship
cases, the arbitration shall take place in the city of San as we may reasonably require), then the sale of such lot of any lot where it was specifically mentioned that
Francisco, California; and will be rescinded and, unless we have already paid to there exists a conflict of specialist or scholarly opinion
the consignor monies owed him in connection with the regarding the Authorship of the lot at the time of sale; (d)
(iii) discovery and the procedure for the arbitration shall sale, the original purchase price will be refunded. Authorship of any lot which as of the date of sale was in
be as follows: accordance with the then generally-accepted opinion of
If, prior to receiving such notice from the original scholars and specialists regarding the same; or (e) the
(A) All arbitration proceedings shall be confidential; purchaser alleging such defect, we have paid the identification of periods or dates of creation in catalog
consignor monies owed him in connection with the descriptions which may be proven inaccurate by means
(B) The parties shall submit written briefs to the arbitrator
sale, we shall pay the original purchaser the amount of scientific processes that are not generally accepted
no later than 15 days before the arbitration commences;
of our commissions, any other sale proceeds to which for use until after publication of the catalog in which the
(C) Discovery, if any, shall be limited as follows: (I) we are entitled and applicable taxes received from property is offered or that were unreasonably expensive
Requests for no more than 10 categories of documents, the purchaser on the sale and make demand on the or impractical to use at the time of such publication.
to be provided to the requesting party within 14 days consignor to pay the balance of the original purchase
of written request therefor; (II) No more than two (2) price to the original purchaser. Should the consignor LIMITATION OF LIABILITY
depositions per party, provided however, the deposition(s) fail to pay such amount promptly, we may disclose
the identity of the consignor and assign to the original EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL
are to be completed within one (1) day; (III) Compliance
purchaser our rights against the consignor with respect PROPERTY IS SOLD “AS IS.” NEITHER BONHAMS NOR
with the above shall be enforced by the arbitrator in
to the lot the sale of which is sought to be rescinded. THE CONSIGNOR MAKES ANY REPRESENTATION
accordance with California law;
Upon such disclosure and assignment, any liability of OR WARRANTY, EXPRESS OR IMPLIED, AS TO THE
(D) Each party shall have no longer than eight (8) hours to Bonhams as consignor’s agent with respect to said lot MERCHANTABILITY, FITNESS OR CONDITION OF
present its position. The entire hearing before the arbitrator shall automatically terminate. THE PROPERTY OR AS TO THE CORRECTNESS
shall not take longer than three (3) consecutive days; OF DESCRIPTION, GENUINENESS, ATTRIBUTION,
The foregoing limited right of rescission is available to PROVENANCE OR PERIOD OF THE PROPERTY OR
(E) The award shall be made in writing no more than 30 the original purchaser only and may not be assigned AS TO WHETHER THE PURCHASER ACQUIRES ANY
days following the end of the proceeding. Judgment to or relied upon by any subsequent transferee of COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY
upon the award rendered by the arbitrator may be the property sold. The purchaser hereby accepts RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK
entered by any court having jurisdiction thereof. the benefit of the consignor’s warranty of title and OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS
other representations and warranties made by the OR OTHER RESIDUAL RIGHTS OF THE ARTIST. THE
To the fullest extent permitted by law, and except as
consignor for the purchaser’s benefit. Nothing in PURCHASER EXPRESSLY ACKNOWLEDGES AND
required by applicable arbitration rules, each party shall
this section shall be construed as an admission by AGREES THAT IN NO EVENT SHALL BONHAMS BE
bear its own attorneys’ fees and costs in connection with
us of any representation of fact, express or implied, LIABLE FOR ANY DAMAGES INCLUDING, WITHOUT
the proceedings and shall share equally the fees and
obligation or responsibility with respect to any LIMITATION, ANY COMPENSATORY, INCIDENTAL OR
expenses of the arbitrator.
lot. THE PURCHASER’S SOLE AND EXCLUSIVE CONSEQUENTIAL DAMAGES.
SELLER’S GUIDE
SELLING AT AUCTION as “photo auction estimate”. Alternatively, you can submit your tax and family division purposes and reflect prices paid by a willing
request using our online form at www.bonhams.com/us. Digital buyer to a willing seller.
Bonhams can help you every step of the way when you are ready to
images may be attached to the form. Please limit your images to no
sell art, antiques and collectible items at auction. Our regional offices When we conduct a private appraisal, our specialists will prepare a
more than five (5) per item.
and representatives throughout the US are available to service all of thorough inventory listing of all your appraised property by category.
your needs. Should you have any further questions, please visit our CONSIGNING YOUR PROPERTY Valuations, complete descriptions and locations of items are included
website at www.bonhams.com/us for more information or call our in the documentation.
After you receive an estimate, you may consign your property to us for
Client Services Department at +1 (323) 850 7500.
sale in the next appropriate auction. Our staff assists you throughout Appraisal fees vary according to the nature of the collection, the
AUCTION ESTIMATES the process, arranging transportation of your items to our galleries amount of work involved, the travel distance, and whether the
(at the consignor’s expense), providing a detailed inventory of your property is subsequently consigned for auction.
The first step in the auction process is to determine the auction value
consignment, and reporting the prices realized for each lot. We provide
of your property. Bonhams’ world-renowned specialists will evaluate Our appraisers are available to help you anywhere and at any time.
secure storage for your property in our warehouses and all items are
your special items at no charge and in complete confidence. You can Please call our Client Services Department to schedule an appraisal.
insured throughout the auction process. You will receive payment for
obtain an auction estimate in many ways:
your property approximately 35 days after completion of sale. ESTATE SERVICES
• Attend one of our Auction Appraisal Events held regularly at our
Sales commissions vary with the potential auction value of the Since 1865, Bonhams has been serving the needs of fiduciaries –
galleries and in other major metropolitan areas. The updated
property and the particular auction in which the property is offered. lawyers, trust officers, accountants and executors – in the disposition
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Please call us for commission rates. of large and small estates. Our services are specially designed to aid
www.bonhams.com/us.
in the efficient appraisal and disposition of fine art, antiques, jewelry,
PROFESSIONAL APPRAISAL SERVICES
• Call our Client Services Department to schedule a private appointment and collectibles. We offer a full range of estate services, ranging from
at one of our galleries. If you have a large collection, our specialists can Bonhams’ specialists conduct insurance and fair market value flexible financial terms to tailored accounting for heirs and their agents
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and government entities on a daily basis. Insurance appraisals, used
• Send clear photographs to us of each individual item, including For more information or to obtain a detailed Trust and Estates
for insurance purposes, reflect the cost of replacing property in
item dimensions and other pertinent information with each picture. package, please visit our website at www.bonhams.com/us or
today’s retail market. Fair market value appraisals are used for estate,
Photos should be sent to Bonhams’ address in envelopes marked contact our Client Services Department.
LA-CA/MAIN/9.2017
BUYER’S GUIDE
BIDDING & BUYING AT AUCTION item at the lowest bid price possible. In the event identical bids the Conditions of Sale. If you wish to use your resale license
are submitted, the earliest bid submitted will take precedence. please contact Cashiers for our form.
Whether you are an experienced bidder or an enthusiastic
Absentee bids shall be executed in competition with other
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your behalf, provided that we have received your written
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San Francisco, Los Angeles and New York galleries.
buyers of these designated lots also buy other lots, such
Catalogs
By Telephone as decorations, rugs or works of art, these lots may also
Before each auction we publish illustrated catalogs that
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to the sale. period of 21 days, after which time they may be transferred
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Previews We are pleased to make our live online bidding facility available
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bidding will apply. Please see www.bonhams.com/24304 or
know as much as possible about it. Items are sold “as is” and 220 W. Ivy Ave, Unit C, Inglewood, Ca 90302
contact the Client Services Department to obtain information
with all faults; illustrations in our catalogs, website and other +1 (310) 419 9915 or +1 (800) 474 7447
and learn how you can register and bid online in this sale.
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Bid Increments
guide you through the auction process. Condition reports may Saturday and Sunday hours available. Buyers must contact
Bonhams generally uses the following increment multiples as
be available upon request. Box Brothers 24 hours in advance of pickup. Appointments
bidding progresses:
are required.
Estimates $50-200..........................................by $10s
Bonhams catalogs include estimates for each lot, exclusive of Bonhams can accommodate shipping for certain items.
$200-500........................................by $20/50/80s
buyer’s premium and tax. The estimates are provided as an Please contact our Cashiers Department for more information
$500-1,000.....................................by $50s
approximate guide to current market value and should not be or to obtain a quote. Refer to Conditions of Sale for special
$1,000-2,000..................................by $100s
interpreted as a representation or prediction of actual selling terms governing the shipment of Arms and Wine. Shipments
$2,000-5,000..................................by $200/500/800s
prices. They are determined well in advance of a sale and are are made during weekday business hours up to four weeks
$5,000-10,000….............................by $500s
subject to revision. Please contact us should you have any after payment is received. Carriers are not permitted to deliver
$10,000-20,000..............................by $1,000s
questions about value estimates. to P.O. Boxes.
$20,000-50,000..............................by $2,000/5,000/8,000s
$50,000-100,000............................by $5,000s International buyers are responsible for all import/export
Reserves
$100,000-200,000..........................by $10,000s customs duties and taxes. An invoice stating the actual
All lots in a catalog are subject to a reserve unless otherwise
above $200,000..............................at auctioneer’s discretion purchase price(s) will accompany all international purchases.
indicated. The reserve is the minimum price that the seller is
willing to accept for a lot. This amount is confidential and does The auctioneer may split or reject any bid at any time at Simultaneous sale property collection notice:
not exceed the low estimated value. his or her discretion as outlined in the Conditions of Sale. If this sale previews in multiple cities, please see the title page
BIDDING AT AUCTION for details regarding final location of property for collection.
Currency Converter
At Bonhams, you can bid in many ways: in person, via Solely for the convenience of bidders, a currency converter Handling and Storage Charges
absentee bid, over the phone, or via Bonhams’ online bidding may be provided at Bonhams sales. The rates quoted for Please note: For sold lots removed to Box Brothers, there will
facility. Absentee bids can be submitted in person, online, via conversion of other currencies to U.S. Dollars are indications be no post-sale storage charge for lots collected within 5 days
fax or via email. only and should not be relied upon by a bidder, and neither from the sale date. For lots that remain at Bonhams, there will
Bonhams nor its agents shall be responsible for any errors be no post-sale storage charge for lots collected within 21
A valid Bonhams client account is required to participate in
or omissions in the operation or accuracy of the currency days of the sale date. Handling fees may apply.
bidding activity. You can obtain registration information online, at
converter.
the reception desk or by calling our Client Services Department. Lots uncollected at Bonhams after 21 days may be removed
Buyer’s Premium to the warehouse of Box Brothers. Handling and storage fees
By bidding at auction, whether in person or by agent, by
A buyer’s premium is added to the winning bid price of each will apply.
absentee bid, telephone, online or other means, the buyer or
individual lot purchased, at the rates set forth in the Conditions
bidder agrees to be bound by the Conditions of Sale. Insurance: All sold lots are insured by Box Brothers at the sum
of Sale. The winning bid price plus the premium constitute
Lots are auctioned in consecutive numerical order as they the purchase price for the lot. Applicable sales taxes are of the hammer price plus buyer’s premium.
appear in the catalog. Bidding normally begins below computed based on this figure, and the total becomes your Please refer to Box Brothers for a list of Handling,
the low estimate. The auctioneer will accept bids from final purchase price. Storage and Insurance fees.
interested parties present in the saleroom, from telephone
Unless specifically illustrated and noted, fine art frames are Payment
bidders, and from absentee bidders who have left written
not included in the estimate or purchase price. Bonhams Payments for purchased lots must be made directly to
bids in advance of the sale. The auctioneer may also
accepts no liability for damage or loss to frames during Bonhams. Box Brothers will not release property to a buyer
execute bids on behalf of the consignor up to the amount
storage or shipment. unless the buyer has paid Bonhams first. All charges for
of the reserve, but never above it.
All sales are final and subject to the Conditions of Sale handling and storage due to Box Brothers must be paid by
We assume no responsibility for failure to execute bids for any the time of collection from their warehouse. Please telephone
found in our catalogs, on our website, and available at the
reason whatsoever. Box Brothers at +1 (800) 474 7447 in advance to ascertain
reception desk.
In Person the amount due. Lots will only be released from Box
Payment Brothers’ warehouse with a “Release Order” obtained
If you are planning to bid at auction, you will need to register
All buyers are asked to pay and pick up by 3pm on the from the cashier’s office at Bonhams.
at the reception desk in order to receive a numbered bid
business day following the auction. Payment may be made
card. To place a bid, hold up your card so that the auctioneer The removal/storage and/or shipment by Box Brothers of any
to Bonhams by cash, checks drawn on a U.S. bank, money
can clearly see it. Decide on the maximum amount that lots will be subject to their standard Conditions of Business,
order, wire transfer, or by Visa, MasterCard, American Express
you wish to pay, exclusive of buyer’s premium and tax, and copies of which are available at Bonhams or from Box
or Discover credit or charge card or debit card. All items must
continue bidding until your bid prevails or you reach your limit. Brothers directly.
be paid for within 5 business days of the sale. Please note that
If you are the successful bidder on a lot, the auctioneer will
payment by personal or business check may result in property Auction Results
acknowledge your paddle number and bid amount.
not being released until purchase funds clear our bank. Auction results are usually available on the next business day
Absentee Bids following the sale or online at www.bonhams.com/us.
Sales Tax
As a service to those wishing to place bids, we may at our
Residents of states listed in Paragraph 1 of the Conditions
discretion accept bids without charge in advance of sale by
of Sale must pay applicable sales tax. Other state or local
telephone, by facsimile or in writing on bidding forms available
taxes (or compensation use taxes) may apply. Sales tax will
from us. “Buy” bids will not be accepted; all bids must state the
be automatically added to the invoice unless a valid resale
highest bid price the bidder is willing to pay. Our auction staff
number has been furnished or the property is shipped via
will try to bid just as you would, with the goal of obtaining the
common carrier to destinations outside the states listed in
LA-CA/MAIN/9.2017
CONTACTS
OFFICERS BONHAMS * BONHAMS * BONHAMS *
Malcolm Barber NEW YORK DEPARTMENTS SAN FRANCISCO DEPARTMENTS LOS ANGELES DEPARTMENTS
Co-Chairman 580 Madison Avenue 220 San Bruno Avenue 7601 W. Sunset Boulevard
New York, New York 10022 San Francisco California 94103 Los Angeles California 90046
Matthew Girling (212) 644 9001 (415) 861 7500 (323) 850 7500
Chief Executive Officer
Books & Manuscripts 20th Century Fine Art 20th Century Decorative Arts
Laura King Pfaff • Ian Ehling, (212) 644 9094 Dane Jensen, (323) 436 5451 Angela Past, (323) 436 5422
Chairman Emeritus Darren Sutherland, (212) 461 6531
Leslie Wright Arms & Armor 20th Century Fine Art
Vice President, Trusts and Estates Chinese Works of Art & Paintings Paul Carella, (415) 503 3360 Alexis Chompaisal, (323) 436 5469
Bruce MacLaren, (917) 206 1677
Jon King Ming Hua, (646) 837 8132 Asian Works of Art African, Oceanic & Pre-Columbian Art
Vice President, Business Development Dessa Goddard, (415) 503 3333 Fredric W. Backlar, (323) 436 5416 •
Collectors’ Motorcars & Motorcycles
Vice Presidents, Specialists
Rupert Banner, (212) 461 6515 Books & Manuscripts Books & Manuscripts
Susan F. Abeles
Eric Minoff, (917) 206 1630 Adam Stackhouse, (415) 503 3266 Catherine Williamson, (323) 436 5442
Rupert Banner
Evan Ide, (917) 340 4657
Judith Eurich
Michael Caimano, (917) 206 1615 Chinese Works of Art Coins & Banknotes
Mark Fisher
Daniel Herskee, (415) 503 3271 Paul Song, (323) 436 5455
Dessa Goddard
Fine Art
Jakob Greisen
American Jewelry & Watches Contemporary Art
Bruce McLaren
Elizabeth Goodridge, (917) 206 1621 Shannon Beck, (415) 503 3306 Dane Jensen, (323) 436 5451
Scot Levitt
Mark Osborne
Contemporary Collectors’ Motorcars & Motorcycles Entertainment Memorabilia
Brooke Sivo
Jeremy Goldsmith, (917) 206 1656 Mark Osborne, (415) 503 3353 Catherine Williamson, (323) 436 5442
Catherine Williamson
Megan Murphy, (212) 644 9020 Jakob Greisen, (415) 503 3284 Dana Hawkes, (978) 283 1518
William O’Reilly
Museum Services Furniture & Decorative Arts
REPRESENTATIVES European Paintings Laura King Pfaff, (415) 503 3210 Andrew Jones, (323) 436 5432
Arizona Madalina Lazen, (212) 644 9108 Jennifer Kurtz, (323) 436 5478
Terri Adrian-Hardy, (602) 684 5747
Impressionist & Modern Native American Art
California William O’Reilly, (212) 644 9135 Ingmars Lindbergs, (415) 503 3393 Jewelry & Watches
David Daniel Dana Ehrman, (323) 436 5407
(916) 364 1645, Central Valley Himalayan Art California & Western Alexis Vourvoulis, (323) 436 5483
Mark Rasmussen, (917) 206 1688 Paintings & Sculpture
California Aaron Bastian, (415) 503 3241 Collectors’ Motorcars & Motorcycles
Brooke Sivo Japanese Works of Art Nick Smith, (323) 436 5470
(760) 350 4255, Palm Springs Jeff Olson, (212) 461 6516 Photographs & Prints
(323) 436 5420, San Diego Judith Eurich, (415) 503 3259 Photographs & Prints
Jewelry Morisa Rosenberg, (323) 436 5435
Colorado
Susan F. Abeles, (212) 461 6525 Space History
Julie Segraves, (720) 355 3737 •
Caroline Morrissey, (212) 644 9046 Adam Stackhouse, (415) 503 3266 Natural History
Florida Camille Barbier, (212) 644 9035 Thomas E. Lindgren, (310) 469 8567 •
Jon King Trusts & Estates Claudia Florian, G.J.G., (323) 436 5437 •
(561) 651 7876, Palm Beach Maritime Paintings & Works of Art Victoria Richardson, (415) 503 3207
(305) 228 6600, Miami Gregg Dietrich, (212) 644 9001 • Celeste Smith, (415) 503 3214 California & Western
(954) 566 1630, Ft. Lauderdale Paintings & Sculpture
Modern Decorative Arts & Design Wine Scot Levitt, (323) 436 5425
Georgia Benjamin Walker, (212) 710 1306 Erin McGrath, (415) 503 3319
Mary Moore Bethea, (404) 842 1500 • Paintings - European
Illinois Photographs & Prints Writing Instruments Mark Fisher, (323) 436 5488
Ricki Harris Deborah Ripley, (917) 206 1690 Ivan Briggs, (415) 503 3255
(773) 267 3300, (773) 680 2881 Laura Paterson, (917) 206 1653 Silver
Aileen Ward, (323) 436 5463
Massachusetts/New England Russian Fine & Decorative Arts
Amy Corcoran, (617) 742 0909 Yelena Harbick, (212) 644 9136 Trusts & Estates
Leslie Wright, (323) 436 5408
Nevada Trusts & Estates Joseph Francaviglia, (323) 436 5443
David Daniel, (775) 831 0330 Sherri Cohen, (917) 206 1671
New Jersey
Alan Fausel, (973) 997 9954 • Watches & Clocks
Jonathan Snellenburg, (212) 461 6530
New Mexico
Michael Bartlett, (505) 820 0701
Jonathan Hochman, (917) 206 1618 * Indicates saleroom
• Indicates independent contractor
Oregon and Idaho
Sheryl Acheson, (503) 312 6023
Pennsylvania
Alan Fausel, (610) 644 1199 •
Texas, Oklahoma and Louisiana
Amy Lawch, (713) 621 5988 •
CLIENT SERVICES DEPARTMENT
Virginia and Washington DC
Gertraud Hechl, (540) 454 2437 • San Francisco New York The following information is recorded
(415) 861 7500 (212) 644 9001 and available 24 hours a day, 7 days a
Washington (415) 861 8951 fax (212) 644 9009 fax week, through our telephone system:
Heather O’Mahony, (206) 218 5011
Monday - Friday, 9am to 5pm Monday - Friday, 9am to 5pm - Auction and Preview Information
Canada, Toronto, Ontario Toll Free - Directions to Bonhams’s salesrooms
Kristin Hayashi, (416) 462 3741 • Los Angeles (800) 223 2854 - Automated Auction Results
Montreal, Quebec (323) 850 7500
David Kelsey, (514) 894 1138 • (323) 850 6090 fax
Monday - Friday, 9am to 5pm
CON/V3/10/17
Auction Registration Form
(Attendee / Absentee / Online / Telephone Bidding)
Please circle your bidding method above.
Sale title: Sale date:
Paddle number (for office use only) Sale no. Sale venue:
General Notice: This sale will be conducted in accordance General Bid Increments:
with Bonhams Conditions of Sale, and your bidding and $10 - 200 .....................by 10s $10,000 - 20,000 .........by 1,000s
buying at the sale will be governed by such terms and $200 - 500 ...................by 20 / 50 / 80s $20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s
conditions. Please read the Conditions of Sale in conjunction $500 - 1,000 ................by 50s $50,000 - 100,000 .......by 5,000s
with the Buyer’s Guide relating to this sale and other $100,000 - 200,000 .....by 10,000s
$1,000 - 2,000 .............by 100s
published notices and terms relating to bidding. above $200,000 ...........at the auctioneer’s discretion
Payment by personal or business check may result in your $2,000 - 5,000 .............by 200 / 500 / 800s
property not being released until purchase funds clear our $5,000 - 10,000 ...........by 500s The auctioneer has discretion to split any bid at any time.
bank. Checks must be drawn on a U.S. bank.
Customer Number Title
Notice to Absentee Bidders: In the table below, please
provide details of the lots on which you wish to place bids at First Name Last Name
least 24 hours prior to the sale. Bids will be rounded down
to the nearest increment. Please refer to the Buyer’s Guide in Company name (to be invoiced if applicable)
the catalog for further information relating to instructions to
Bonhams to execute absentee bids on your behalf. Bonhams
Address
will endeavor to execute bids on your behalf but will not be
liable for any errors or non-executed bids.
City County / State
Notice to First Time Bidders: New clients are requested to
provide photographic proof of ID - passport, driving license, ID Post / Zip code Country
card, together with proof of address - utility bill, bank or credit
card statement etc. Corporate clients should also provide a Telephone mobile Telephone daytime
copy of their articles of association / company registration
documents, together with a letter authorizing the individual to Telephone evening Fax
bid on the company’s behalf. Failure to provide this may result
in your bids not being processed. For higher value lots you may Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2
also be asked to provide a bankers reference. next to the telephone number.
Notice to online bidders; If you have forgotten your E-mail (in capitals)
username and password for www.bonhams.com, please By providing your email address above, you authorize Bonhams to send you marketing materials and news concerning Bonhams
contact Client Services. and partner organizations. Bonhams does not sell or trade email addresses.
I am registering to bid as a private client I am registering to bid as a trade client

If successful
I will collect the purchases myself
Please contact me with a shipping quote (if applicable) Resale: please enter your resale license number here
I will arrange a third party to collect my purchase(s) We may contact you for additional information.
Please email or fax the completed Registration Form and

requested information to: SHIPPING
Bonhams Client Services Department
Shipping Address (if different than above):
7601 W. Sunset Blvd
Los Angeles, California 90046 Address: _____________________________________ Country: _____________________________________
Tel +1 (323) 850 7500
Fax +1 (323) 850 6090 City: _________________________________________ Post/ZIP code: _________________________________
bids.us@bonhams.com
Please note that all telephone calls are recorded.
Brief description MAX bid in US$

Type of bid
Lot no. (In the event of any discrepancy, lot number and not lot description will govern.) If (excluding premium and applicable tax)
(A-Absentee, T-Telephone)
you are bidding online there is no need to complete this section. Emergency bid for telephone bidders only*
You instruct us to execute each absentee bid up to the corresponding bid * Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed
amount indicated above. by Bonhams only if we are unable to contact you by telephone or should the connection
be lost during bidding.
BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND SHALL BE LEGALLY BOUND BY THEM,
AND YOU AGREE TO PAY THE BUYER’S PREMIUM, ANY APPLICABLE TAXES, AND ANY OTHER CHARGES MENTIONED IN THE BUYER’S GUIDE OR
CONDITIONS OF SALE. THIS AFFECTS YOUR LEGAL RIGHTS.
Your signature: Date:

112 | BONHAMS LA-CA/MAIN/07.17
Bonhams
7601 W. Sunset Boulevard
Los Angeles, California 90046
+1 323 850 7500

+1 323 850 6090 (fax)
International Auctioneers and Appraisers – bonhams.com

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AFRICAN AND OCEANIC ART

Tuesday, December 5, 2017

BONHAMS BIDS INQUIRIES ILLUSTRATIONS

AFRICAN AND OCEANIC ART | 1

AFRICAN AND OCEANIC ART | 3

Jerome Feldman notes, “Protective figures called hampatong or

AFRICAN AND OCEANIC ART | 5

In lozenge form, the heavily adzed surface with residue of

AFRICAN AND OCEANIC ART | 7

“The immense cultural diversity of Papua New Guinea is reflected

Photographic Portrait of Beatrice Grimshaw

AFRICAN AND OCEANIC ART | 9

In reference to a similar mask acquired in 1896 by the Ethnologisches

Until further research is undertaken, this group of masks collected

Lunet were “friction drums” with three sound-producing wedges

Exhibited and Published

Bearing two collection inscriptions in black marker on the midsection

Although Dr. Kramer’s inscription says Espiritu Santo, the style of

12 19th Century daguerreotype of a Soluman Islands Warrior 12

AFRICAN AND OCEANIC ART | 17

Bearing a cloth collection label which reads “Pak Is./Admiralty

Roughly carved from a solid block, this headrest was used as a

AFRICAN AND OCEANIC ART | 19

According to Adrienne Kaeppler, “Tongan clubs were the most

This superbly stone-carved paddle club is completely decorated on

16 16 Tonga Islands, “Massacre of De L’Angle and Lamanon

Cf. (ibid.) fig. 28

AFRICAN AND OCEANIC ART | 23

On Mangaian adzes, Phelps notes, “Most woodwork was done

AFRICAN AND OCEANIC ART | 25

According to Rhys Richards, ‘Though widely called “paddles,” these

Finely decorated around the pommel with sixteen representative

According to William Ellis in Polynesian Researches During a

Originally their weapons were simple, and formed of wood; they

Of monumental proportions for its genre, the proportions are

Cf. Polynesian Artifacts - The Oldman Collection, Memoirs of the

AFRICAN AND OCEANIC ART | 29

Provenance Robert D. Craig notes, “There seems to be a natural inclination

According to Diane M. Pelrine (Affinities of Form, Prestel-Verlag,

While stilt contests were also popular in other parts of Polynesia,

AFRICAN AND OCEANIC ART | 33

These large stone balls, carved in perfect spherical shape, were

AFRICAN AND OCEANIC ART | 35

Provenance $8,000 - 12,000

AFRICAN AND OCEANIC ART | 37

Carved of hardwood, the cylindrical shaft of slightly curving form

According to Sidney Moko Mead, “This type of two-handled club

Cf. Mead (ibid.), fig. 36

AFRICAN AND OCEANIC ART | 41

Kenneth Athol Webster (1906–1967) was a collector and dealer of

Bearing collection inscription “WEBSTER COLL 489” near the

Made from an especially attractive stone with ancient wear around

Steven Hooper notes, “Short clubs (generally known as penu) were

AFRICAN AND OCEANIC ART | 45

Cf. Te Papa Tongarewa, The Museum of New Zealand, inventory no.

A compact and powerfully stone-carved example in dark-green

AFRICAN AND OCEANIC ART | 49

AFRICAN AND OCEANIC ART | 51

Of significant weight, standing firmly on each trunk shaped leg with a

According to Leloup, a Thermoluminescence authenticity test stated

Kate Ezra notes, ‘Early in this century, Louis Desplagnes wrote

Daybreak Thermoluminescence Test

According to R.A. Bravmann, “The Malian

According to Ezra, these posts “support the