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Click here to subscribe* A carved wooden ancestor figure, Chambri Lakes, Sepik River, Papua New Guinea, mid-20th c., wooden black-painted figure of male form, with red and white-painted detail, shell eyes, pierced ears tied with twisted twine, and twine loin cloth threaded with a shell, 675 x 90mm (26.5 x 3.5ins). Ancestor figures were made to represent both individual family ancestors and tribal ancestors, as well as clan or tribal totemic animals and other bush spirits. Traditionally they were cared for by family elders who kept the figures in shrines and made frequent offerings to them for the well-being of the family. The figure’s powers could be heightened by being anointed with magical medicines and they were used in a number of ways: to protect the sick from evil forces, guard villages from unwelcome intruders and to ascertain the guilt, or otherwise, of a defendant. It was believed that they could enhance life by interceding on a high plane to provide food, prevent and cure illness, acquire stature, and counter sorcery. This ancestor figure is from the collection of the controversial and eccentric artist Robert Lenkiewicz (1941-2002). The artist would have been particularly interested in the connection between tribal art and the occult. At the time of his death Lenkiewicz’s libray contained some 25,000 volumes devoted to art, the occult sciences, demonolatry, philosophy, metaphysics, alchemy, death, psychology and sexuality, preoccupations which surface in many of his paintings, and his collection of books on magic and witchcraft was one of the finest in private hands. (1)
Elisofon/Fagg. The Sculpture of Africa,1978 New York, 1978 § Christensen (Erwin O.) Primitive Art, New York, 1955 § Newton (D.) and Lee Boltin. The Nelson A.Rockefeller Collection: Masterpieces of Primitive Art, New York, 1978 § Lamb (V.) and Judy Holmes. Nigerian Weaving, 2006, illustrations, many colour, original cloth or cloth-backed boards, dust-jackets, the first two a little rubbed and frayed at edges; and a small quantity of others on African and tribal art, mostly catalogues, folio & 4to (1 Box)
A Benin bronze leopard, Nigeria, probably 19th century, in standing position with outscrolling tail, the body entirely covered with concentric spots, dark green and copper patination, 34cm wide, 22.5cm high, 7cm deep, Note: Almost all Benin art was created to honor the king, or Oba, whose ancestral family has reigned since the 15th century. Benin bronzes were brought to Europe following a punitive expedition by the British in 1897, and caused a great sensation. Bronze Leopards were often used as royal water vessels - the water was poured from the mouth over the Oba`s hands in cleansing rituals. They were kept on royal altars. Like an ideal tribal leader, the leopard is revered for harmonizing the attributes of menace and temperance. The leopard also stands above life because like a leader, he has bestowed upon him the privilege of the `right to kill`.
Tribal art - A wooden ceremonial paddle, possibly Papua New Guinea, the broad blade tapering to a point and incorporating carved and pierced decoration, including stylized lizard or crocodile motifs of Aboriginal type, the shaft carved to resemble knots or chain links, 175cm long. Visit www.dnfa.com for condition reports.
Daghestan rug, north east Caucasus late 19th century, 3ft.6in. x 2ft.8in. 1.07m. x 0.81m. Slight even wear overall. Several tribal and village rugs are known and have been published where a well-known design has been attempted in a very cursory and crude manner but nevertheless with a decidedly naive charm allied with a good sense of colour. The usual explanation for such pieces is that they represent children's practice pieces; young girls learned to weave literally at their mothers' knees from a very early age, as in many traditional environments they still do, and such rugs as this are known to be the results of such initial attempts at an art form for which many such young tyros subsequently showed a remarkable aptitude.