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Lot 374
An embroidered shawl (phulkari), pachranga Shalimar bagh, Punjab, first half 20th century, silk floss on light maroon cotton ground, the large concentric lozenges in silk floss in tones of saffron, red, green and cream against tangerine ground, one pallu hatched in similar colours, the other with bold chevrons forming palmettes in similar colours within large square panels240 x 131.5cm.Provenance: Private UK Collection acquired in the 1950s by the vendor's father, an academic. The works were brought to the UK when the family relocated here in 1966. Footnote : Phulkaris were ceremoniously exchanged between various members of the family during marriage festivities. These included the passing down of phulkaris from mother to daughter, or grandmother to granddaughter, or in the form of the highly particularised vari da bagh, a type of embroidery that was gifted by the groom's family as part of marriage arrangement. Soft, untwisted silk floss thread called as “pat” came from various places like Kashmir, Bengal and even from Afghanistan, and Turkistan, but were dyed locally in Amritsar and Jammu, and women could obtain this from nomadic merchants. Partition in 1947 changed the availability of these silk flosses.Further reading: Aryan, S. & B.N. Ayran, Unknown Masterpieces of Indian Folk and Tribal Art, KC Aryan’s Home of Folk Art, 2nd & enlarged ed., 2016.Mason, D. (ed.), Phulkari: The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection, Philadelphia Museum of Art/Yale University Press, 2017. Condition Report: Four joined panels. Stained. Light dye smudges. Occasional losses. Some pulled threads.
Lot 238
A striking bronze sculpture of the King of the Maqua (Mohawk) signed by the artist Jud Hartmann. The figure is depicted standing with a commanding presence, adorned with intricate facial and body tattoos, which are deeply incised into the bronze, emphasizing cultural significance. He wears a draped cloak over his shoulders, and his detailed musculature and expressive facial features lend a lifelike intensity to the piece. His ear ornaments, facial scars, and traditional staff further accentuate the historical and tribal identity captured in this work. The textured surface and dynamic pose reflect a style reminiscent of Western bronze sculpture, emphasizing indigenous heritage and warrior spirit. Mounted on a wooden base, this sculpture stands as a testament to skilled craftsmanship and the evocative storytelling of Native American traditions in art. Signature and edition on base. Artist: Jud Hartmann (American, b. 1948)Issued: 2014Dimensions: 15"L x 13"W x 23.50"HCountry of Origin: USACondition: Age related wear.
Lot 196
λ A PERUVIAN POLYCHROME FEATHERWORK TABARD FRAGMENT WITH ANIMAL MOTIFS Chimú or Inca Peru, South America, circa 14th - 16th centuryThe rectangular fragment most probably once part of a larger Peruvian tribal tabard garment, made of polychrome bird feathers tied into knots and then knotted directly onto an off-white coarse cotton ground, the feathers prominently in the tones of orange red, light yellow, iridescent teal blue, and brown, the upper section featuring two rows of stylised animals with claws and big fangs, the lower section monochrome, mounted on a cream-coloured cotton canvas in a Perspex casing.The panel 77cm x 43.5cm, 99.5cm x 64.3cm including the frame Provenance: Gifted from the Peruvian Ambassador to the parents of the present vendor in 1968 and in a private UK-based collection since. Exhibited and Published: Juan de Lara, Mestizaje and Craftsmanship in the Viceroyalties of America, Series 'Sumando Historias' of the Museo de America of Madrid, 4 April 2024. The fascination for exotic birds' feathers and their incorporation into artworks, whether in the form of textile panels, totems, adornments, or headdresses, are certainly not only prerogatives of South American civilisations. That said, in the specific case of Peru, featherwork certainly reached an unparalleled high level of complexity and impressive quality during the Chimú (ca. 1000 – 1470) and Inca (1430–1534) periods, as attested by the intricate string system with which the feathers were attached to the tabards. This technique was so elaborate and time-consuming that it is occasionally referred to as 'feather mosaic' (Christine Giuntini in Heidi King, Peruvian Featherworks: Art of the Precolumbian Era, MET, 2012, p. 94). Throughout the 16th century, Spanish and European conquistadors and explorers of the Americas wrote with admiration of the exotic objects they saw on their travels, among them not only clothing and textiles, but also weapons and objects often made of or embellished with rare and precious feathers of birds (Heidi King, Peruvian Featherworks: Art of the Precolumbian Era, MET, 2012, p. 9). Considered symbols of high status, they soon became prized ethnographic possessions, and later entered many important international museum collections. In terms of comparables, our tabard panel presents compositional and manufacturing similarities to another fragmentary panel attributed to Chancay or Ichma Peru, dating 13th - 15th century, in the Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Ethnologisches Museum (acc. No. VA 660300) (ibidem, p. 33, fig. 21) and another Chimú panel with birds and wave motif, 13th - 15th century, in the Museo Amano, Lima (inv. 7512) (ibidem, p. 118). As far as the decoration goes, birds or animals mixed with running scroll or wave motif were seen on many tabards of the 13th - early 16th-century period, as well as in a variety of other mediums ncluding architecture, ceramics, metalwork. The later dating pieces tend to showcase more abstract and stylised creatures, like the present lot, making species identification difficult. λ This item may require Export or CITES licences in order to leave the UK. It is the buyer's responsibility to find out and conform to the specific export requirements of their country and ensure that lots have the relevant licences before shipping. The panel 77cm x 43.5cm, 99.5cm x 64.3cm including the frame Qty: 1
Lot 168
Original vintage advertising poster for Art et Ethnographie d'Afrique Noire / Black African Art and Ethnography exhibition that took place from 17 May to 12 June 1989 at the Departmental Museum of the Vosges - Epinal, the poster features an image of an African tribal mask set over an orange background. Good condition, folds, creasing, staining, paper skimming. Country of issue: France, designer: Photo: R. Mairot, size (cm): 60x30, year of printing: 1989.
![Tribal Art - a Tiv [Tiiv] figural dance wand, 46cm long, Nigeria, collector's display stand](https://cdn.globalauctionplatform.com/d610330d-9053-4dc5-80e7-b25e00e4a3a8/c9b6f766-9aec-4973-b30e-b2ae011f138d/468x382.jpg)
Lot 492
Guanacaste-Nicoya Region, Ca. AD 300 - 500. A jade axe god celt pendant with a stylised bird-headed form. The rounded head features incised circular eyes and shallow carved lines define the wings extending along the sides, while the lower section tapers to a broad, flared edge. The surface displays natural veining. Mounted on a custom-made display stand.For similar see: Christie's, Live Auction 5016, Tribal Art, 15 June 2002, Lot 11.Size: 95mm x 50mm; Weight: 255gProvenance: Private dutch collection; Ex. private collection.This piece is accompanied by Spanish Export license.
Lot 330
Tribal Art A large collection of volumes on tribal art to include of Africa, America, Oceania and of the Inuit people to include: Brodrogi (Tibor) Stammeskunst, Budapest, 1982, two volumes, 4to; Meyer (Anthony J.P.) Oceanic Art, Cologne, 1995, folio; Einstein (Carl) Negerplastik, Munich: Kurt Wolff, 1920, 4to, cloth; among other volumes on tribal art (qty) The Library of Roger Cardinal Roger Cardinal (1940-2019)Roger Cardinal was one of Britain’s most distinguished art historians, best known for defining what is generally known as Outsider Art - that is, art by people with no formal training. He began his career as a lecturer at the French department of the University of Manitoba, Canada, subsequently moving to Warwick University and finally to the University of Kent at Canterbury, where he taught for fifty years and held a professorship.Roger Cardinal was not only a leading authority on Outsider Art, but also on Surrealism. He was a prolific writer and a master of literary style. His eloquent, percipient writings include several books on a wide range of subjects such as Outsider Art (1972), German Romantics in Context (1975) Figures of Reality (1981), Expressionism (1984), The Landscape Vision of Paul Nash (1989), The Cultures of Collecting (1994), and Kurt Schwitters (2011). He also acted as a curator and was a regular contributor to art-historical publications.Cardinal’s interest in art lay in its margins - the neurodiverse, psychotic, uneducated, autistic, self-taught and ‘other’. His fascination with artists such as the violently psychotic Adolf Wölfli lay in their creativity rather than in the sensationalism of their lives. Certainly, it did not lie in the resale value of their work. That outsider art should have its own multimillion-dollar annual fair in New York and specialist departments at Christie’s auctioneers ran quite contrary to Cardinal’s thinking.Much of Roger Cardinal’s library has recently been donated to the Tate Gallery including the handwritten diaries that he kept his whole life. Cardinal often used books as working tools, heavily annotating in the margins - as with many volumes in the current sale. The library offered reflects Cardinal’s varied interests and fluent command of French and German. Alongside a large collection of art reference works in his specialist subjects, we also find collections of books on fairy tales and science fiction.
Lot 376
A carved softwood headrest, first half of the 20th century, Somalian, the single post with basket-weave carving, raised on a flared circular foot,20cm wide13cm deep20.5cm highProvenance: Sotheby Parke Bernet & Co., 'Tribal Art', 3 December 1984, lot 386.Condition ReportWITH ORIGINAL INVOICE. Small areas of wear, knocks, scuffs and surface scratches throughout. The rim to the foot lifting and chipped. Stands level on a flat surface.
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