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Tribal Art. An Indian pidha tribal chair, the hinged back carved with elephants, flowers, etc., with a woven seat, on tapering legs, 49cm wide.

Tribal Art & The Country House Interior - a Zulu headrest, slightly curved cresting, above three supports, carved with geometric motifs, Nongoma Region, South Africa, English silver mounted as a desk inkstand, the fittings London 1903, 48cm wide

Dimensions: Height 28 cm Wide 12 cm Depth 22 cmWeight: 2103 grams Traditional brass elephant sculpture with intricate detailing.Characteristic of Dhokra art, an ancient metal-casting technique practiced by tribal artisans in India, particularly in West Bengal, Odisha, and Chhattisgarh.Elongated legs and trunk provide a stylized look, the ornate patterns and textures on the elephant’s body reflect traditional tribal artistry. The saddle-like structure on the elephant’s back indicates it might depict a ceremonial or royal elephant.

A collection of various decorative wares comprising, an Italian hand painted ceramic bowl, a Romainia style hand painted jug (h-18cm), a soap stone carved figure of a bird (h-18cm), a wooden figure of a seated bear, a Hartley's Ltd by Dee Cee Studio stoneware jug (marked verso) (21cm), a Folk Art Aztec Mayan clay flute figure and a wall hanging African Tribal wooden mask (l-59cm) (7)

A west African Ghana Ashanti military tribal art elephant head rest, miniature stools, nigiri face plaques etc

A large west African Baule/Senufo ivory coast hardwood mask together with an African tribal art Dogon female figure

An antique South African Zulu tribal art chiefs staff

A tribal art Indonesian Kris knife and sheath

A large West African tribal art Sierra Leone Mende carved bust with cowrie shell eyes, a Benin carved Oba bust and two East African Makonde ebony busts

A Nepalese Gurkha Kukri knife and West African tribal art machete knife

A large West African tribal art Dan trible carved human shaped spoon or ladle and a mounted West African Cameron beaded terracotta namji doll

1.Emily Kame Kngwarreye:•Focuses on the art of Emily Kame Kngwarreye, a prominent Indigenous Australian artist known for her abstract and expressive paintings, rooted in her connection to her land and culture.2.Midden-Afrika (Reader’s Digest):•A book about Central Africa, covering its landscapes, peoples, and cultural heritage. It likely includes photographs and descriptions of various tribes and regions.3.Aboriginal Kunst:•Discusses Aboriginal art, featuring traditional and contemporary works of Indigenous Australian artists, showcasing their unique cultural expressions and symbolism.4.Aspecten van de Rituele Kunst:•Focuses on ritual art from various ancient cultures, including Mesopotamia, Egypt, and Pre-Columbian America. It explores the religious and ceremonial objects used in different cultural contexts.5.Volken en Stammen:•Translates to “Peoples and Tribes.” Likely covers various indigenous and ethnic groups from around the world, detailing their customs, traditions, and societal structures.6.Romans (Romeinen):•This book is about the Romans, likely covering the history, military, and culture of Ancient Rome. The cover shows a Roman soldier in full armor, indicating a focus on Roman warfare and society.7.Native American Art:•A comprehensive overview of the art and craft traditions of Native American cultures, showcasing artifacts, carvings, and ceremonial objects.8.Buddha und Indonesien:•This book appears to explore Buddhist art and influences in Indonesia, highlighting the religious sculptures and architectural heritage in the region.9.The Jews in Literature and Art:•Examines the representation of Jewish culture and history through literature and art, covering themes related to Jewish identity and religious symbols.10.Tibet: The Cultural Monuments of the Central Region (Part 1 & 2):•These volumes offer detailed insights into the cultural heritage and religious monuments of Tibet, featuring the architecture, art, and history of the region’s central areas.11.Noord-Afrika (Reader’s Digest):•Explores the cultures, landscapes, and historical landmarks of North Africa. It likely features stories about the different ethnic groups and their traditional lifestyles.12.Ferne Völker Frühe Zeiten:•This translates to “Distant Peoples, Early Times.” The book seems to focus on early cultures and civilizations, possibly highlighting ancient tribal art and artifacts from various regions.These books collectively offer a rich exploration of world cultures, ancient civilizations, and diverse artistic traditions.

Works of art including Native American tribal art, antique lock plates, pewter tankards, Regency watch stand etc

Tribal art, a carved wood African headrest with chorded handle, together with a carved wood club/mace (l. 51cm)

A c.1900 carved & detailed tribal art rhino, possibly Chinese, 290mm long x 152mm tall

A vintage mid century circa 1960s tribal art style teak wood panel, believed converted from a table top. The panel depicting Roman goddess Diana and Actaeon, with deer figure in the foreground. Marked to verso By Matteo Balducci 1509-1554, after the Italian artist's renowned painting. Wall hanging to verso.Measures approx. 61cm diameter.

Tribal Art. A carved figure group of men and women carrying water vessels, 41cm high.

BAMANA HEADDRESS, MALI OR BURKINA FASOsogoni koun wood, pigmentsHeight 44.5 cmProvenancecollected in 1931-1932 by Carl & Amalie Kjersmeier, CopenhagenLau Sunde (1910-1979)/Etnografica, CopenhagenE. Lauritzen, 1971 LiteratureOtte Stensager, T., 'Carl Kjersmeier and Sogoni Koun. A life, a journey, and a passion for African Art', in Tribal Art Magazine, Winter 2016, no. 82, pp.106-121, fig.16Footnotes:This sogoni koun shares close similarities with the very first Bamana dance crest acquired by the Kjersmeier couple in 1930 from André Delcourt, a dealer in Paris (see Stensager, O., op. cit., p.108, fig.6) and is likely by the same hand.For further information on this lot please visit Bonhams.com

BAMANA HEADDRESS, MALI OR BURKINA FASOsogoni koun wood, pigments, cloth, fibres, metalHeight 31 cmProvenancecollected in 1931-1932 by Carl & Amalie Kjersmeier, CopenhagenGrete Balle (1926-), Denmark, 1958 LiteratureOtte Stensager, T., 'Carl Kjersmeier and Sogoni Koun. A life, a journey, and a passion for African Art', in Tribal Art Magazine, Winter 2016, no. 82, pp.106-121, fig.24Footnotes:Carl Kjersmeier, a Danish lawyer born in 1889, married Amalie Edelsten in 1917, just a year before acquiring his first African art object. As highlighted in Stensager's article in Tribal Art magazine, the Kjersmeiers assembled the majority of their collection during the 1920s and 1930s. Throughout his life, Kjersmeier contributed to numerous exhibitions and publications on African art, appreciating these objects not only for their aesthetic qualities but also for their cultural significance and original use.In addition to acquisitions from dealers, collectors, and auction houses across Europe and the United Kingdom, the couple undertook their first field study and collecting expedition to what was then French West Africa from November 1931 to April 1932. The author notes that, despite numerous challenges, 'the Kjersmeiers collected some 300 objects on the journey, including fifty-six sogoni koun and chi wara dance crests. More than half of these, thirty-four pieces, were either sold or given to private collectors, dealers, and museums'. After their passing in 1961 and 1968, their collection was bequeathed to the National Museum in Copenhagen, where it remains on display to this day.For further information on this lot please visit Bonhams.com

ZANDE HEADREST AND CONTAINER, DEMOCRATIC REPUBLIC OF THE CONGOeringa wood, bark, metal, shellsLength 34 cm Footnotes:For a similar headrest also with brass inlay to the top, collected by Dragotin Lerman between 1882 and 1896 and today in the Ethnographic Museum, Zagreb, see Sremac, S. and Zivković, M., 'The Lerman Collection of Art from the Congo', in Tribal Arts Magazine, no.101, Autumn, 2021, p.60.For further information on this lot please visit Bonhams.com

KORWAR ANCESTOR FIGURE, CENDERAWASIH BAY, INDONESIAwoodHeight 28.5 cmProvenanceHenry Blekkink (1888-1953), The HagueLiteratureWeener, F., 'The Korwar Collection of Henry Blekkink', in Tribal Art Magazine, no.63, Spring 2012, p.92Corbey, R., Korwar: Northwest New Guinea ritual art according to missionary sources, Leiden, 2019, pp.68, 77, 111 fig.79Footnotes:Henry Blekkink (1888, Java – 1953, The Hague) was a Dutch geography teacher with early connections to the Dutch East Indies. According to Weener (op. cit.), Blekkink is believed to have acquired his korwar' collection through Frans Johannes Frederik van Hasselt (1870–1939), a protestant missionary of the Utrecht Missionary Society. Missionaries from this society were active in northern New Guinea from 1862. Van Hasselt, who arrived in the Cenderawasih Bay region in 1894, gathered a substantial number of these ancestral figures and sent them to the Netherlands, where many were displayed in exhibitions organized by the Utrecht Missionary Society from 1909. The author suggests that Blekkink likely met van Hasselt through the New Guinea study circle of the Moluccan Institute, where both were active participants in the 1930s.For further information on this lot please visit Bonhams.com

Ca. 19th Century. A large red earthernware pottery jar, decorated with stamped patterns and knob handles on the globular body. For similar see: The British Museum, registration number Af,+.3934. Size: 550mm x 530mm; Weight: 13kg Provenance: Private UK collection; Ex. Dr. Laurence R. collection; previously at Christie's London, Important Tribal Art, 22 June 1993, lot 130. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Four classy bolo ties featuring a silver metal lizard, abalone horseshoe, tribal chief with mother of pearl chips, and triangular art glass. The longest measures approximately 38"L from tip to tip. Dimensions: See DescriptionCondition: Age related wear.

THREE INDONESIAN TRIBAL ART CARVED TEAL WOOD BUSTS, and a large heavy Indian cartwheel hub

Jagdish Swaminathan (Indian, 1928-1994)Untitled signed and dated 'Swaminathan 91' in Devanagiri versooil and wax on canvas, framed146 x 234cm (57 1/2 x 92 1/8in).Footnotes:ProvenanceProperty from a Corporate Collection, UK.This Untitled work, painted in 1991, marks a pivotal phase in Swaminathan's career. During this time, he focused on distilling the world into its most fundamental and 'purest essence.' Swaminathan's oeuvre is profoundly shaped by the forms and symbols of tribal art, which significantly influenced his canvases, transforming them with a substantial and evocative aesthetic.The formative years of Swaminathan's career, spanning the latter part of the 1960s and the entirety of the 1970s, began with the Colour Geometry of Space series, which established a foundation for his subsequent work. After exploring pictural depictions of flat geometric planes of colour in this body of work, he began incorporating natural elements into his conceptual landscapes, noticeable in his later Mountain, Tree, and Bird series. In these works, he crafted imaginative realms that were both poetic and often conveyed a profound sense of peace, achieved through the juxtaposition of mountains, trees, rocks, and animals against bold and vibrant geometric fields of colour. The calming serenity of these images captivated his imagination and prompted a deep exploration of the intricate relationships between nature and the spiritual. As such the meditative stillness they evoked became a lasting obsession for the artist. 'The mind and sensibility of the Indian artist are extremely sophisticated and subtle, and nurtured by a view of life that is deeply and searchingly spiritual.'(Ebrahim Alkazi, Manifestations XI - 75 Artists 20th Century Indian Artp.83). Swaminathan's artistic journey was driven not only by a desire for personal exploration but also by a call for the reformation of Indian art, advocating for its liberation from blind nationalism and the uncritical embrace of Western modernism. In the early 1960s, Swaminathan and eleven other artists formed Group 1890, named after the house number of J. Pandya, where they held their inaugural meeting. This collective aimed to explore new artistic horizons and 'stood passionately and romantically for modernist values that signalled change' (Journal of Arts & Ideas, issues 27-28, March 1995, page 147.-Journal of Arts and Ideas -- Digital South Asia Library), representing a pivotal moment in the evolution of Indian contemporary art. The group held its only exhibition in 1963, which significantly influenced the artistic landscape of the time. Despite its brief existence, Swaminathan remained dedicated to its foundational principles. Building on the principles established during this pivotal collective experience, Swaminathan's artistic journey took a significant shift in the 1980s. During this time, he began to explore a palette of natural tones, employing textured paint techniques and creating compositions that emphasized geometric shapes. This evolution distinguishes the consigned lot from his earlier landscapes characterized by vivid colours. The earthy tones present in this untitled work resonate with Swaminathan's later artistic expression, which was profoundly shaped by his formative experiences in the heart of India's forests, where he lived among tribal communities. This immersion fostered a lasting fascination with indigenous art and tribal iconography, which became central to his practice. In J. Swaminathan: An Exhibition of Paintings (Vadehra Art Gallery, 1993), he recounted a formative experience that further illustrates this connection.: 'A young boy had been bitten by a snake, and the witch doctor was reviving him with continuous chants while throwing pots full of water on him. We watched in rapt fascination, and soon enough, the boy recovered, and the snake, which had been imprisoned in an earthen pot, was released and vanished into a thick bamboo grove. This early encounter with tribal life had a profound impact on my later life.'This narrative not only highlights the significance of his early experiences but also sets the stage for understanding his engagement with vernacular art. Swaminathan's work reveals a significant interplay between his creative perspective and India's traditional heritage. Underscoring the lasting influence of traditional forms on his evolving artistic practice.Swaminathan's untitled piece exemplifies this connection through its balanced composition, divided into two main panels. The left panel presents a triangular form textured and layered in warm earth tones of deep browns, ochres, and muted oranges. In contrast, the right panel showcases a cooler, darker palette of greys and blues, characterized by overlapping shapes, triangles, and vertical lines. This juxtaposition creates visual tension, while the central dividing line serves as a unifying element, highlighting the surface's physicality. In Swaminathan's oeuvre, the upward-pointing triangle serves as a signature element, symbolizing stability and balance while suggesting spiritual significance through its central placement. This form presents an abstract and minimalist interpretation of his renowned mountains, viewed in the Hindu context as the home of Shiva. This symbolism enriches the spiritual dimensions of this untitled work and aligns with his broader artistic vision, which extends beyond simple narratives or visual elements. Swaminathan's lyrical approach conveyed in this lot, reflects the neo-tantric movement of the 1970s, which emphasized spirituality, mysticism, and abstraction. As such, for Swaminathan, art transcends traditional representations of reality; it invites a more profound engagement with the essence of life itself and aims to inspire a sense of freedom that encourages deeper explorations and understanding.'Art is neither conformity to reality nor a flight from it. It is a whole new world of experience, the threshold for the passage into the state of freedom'(Jagdish Swaminathan, Group 1890, Manifesto)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Ramachandaran (1935-2024)Visions of Ramdev, Song of the Shimbul Tree (Diptych) signed and dated 'Ramachandran 2001' lower rightoil on canvas, framed202.01 x 142.9cm (79 9/16 x 56 1/4in).Footnotes:ProvenanceProperty from a Corporate Collection, UK.Born in 1935, Ramachandran was a prolific Indian artist whose career, spanning from the mid-20th century to the early 21st century, masterfully blended modern dramatic representations with imagery and aesthetics deeply rooted in Indian classical art, engaging lyrically with life and nature. In 1957, Ramachandran studied under the guidance of renowned masters like Ramkinkar Baij and Benodebehari Mukherjee at Viswa Bharati University in Santiniketan. The vibrant cultural and intellectual atmosphere of Santiniketan deepened his connection to the art traditions of India and other Eastern civilizations, sparking a lifelong fascination with and exploration of the mural paintings of Kerala temples. His studies extended to Rajasthani miniature traditions, which significantly reshaped his visual language. As a result, Ramachandran seamlessly integrated various elements of Indian classical art into his oeuvre, embracing composite motifs, decorative features, and the exuberance of forms and colours. His artistic journey includes a diverse range of influences, such as muralist traditions, watercolours, tempera, silkscreen painting, Tibetan tangkas, and the frescoes of Ajanta and Jaipur.In the diptych, Visions of Ramdev, Song of the Shimbul Tree, Ramachandran drew extensively on his research and background in the Kerala muralist tradition, as well as influences from Japanese screen paintings, inspiring him to segment his canvases into panels. Ramachandran has occasionally been viewed as a contentious figure within the Indian modern art scene, mistakenly labelled by some as a 'neo-revivalist' or 'anti-modernity' artist. These claims arise from his powerful figuration and innovative use of Indian mythology, alongside his enduring fascination with Asian artistic traditions.In the present lot, the colours and forms of the murals in Kerala temples depicting Hindu mythology significantly influenced Ramachandran visual expression. The themes of Hindu myths became a rich resource for his creativity and artistic style. The title of the work references Ramdev Pir, a revered character in Indian mythology who was celebrated for helping the oppressed and advocating for the equality of all people. This present lot also reflects Ramachandran's focus on tribal community life, particularly among the tribes from Rajasthan, whose way of life and cultural background profoundly fuelled his creativity. This diptych depicts a peaceful, rural setting and features a group of four seated figures beneath a large, vibrant tree. The tree, prominently positioned across both panels, is adorned with foliage and bears fruits. The figures, dressed in traditional Indian attire, are arranged in calm, seated postures, giving the scene a serene and reflective atmosphere. Each wear richly patterned clothing in earthy tones of orange, purple, green, and yellow. The warm, muted colours unify the scene, and the repetitive patterns, both in the figures' clothing and the tree's branches, create a sense of harmony and rhythm. The painting explores themes of nature, tradition, and spirituality, with its calm composition and traditional elements inviting contemplation. As such, decorative elements, dramatic atmospheres and myths have become an integral part of his work along with his strong lines, dynamic compositions and a refined understanding of colour theories. However, while Ramachandran draws profound inspiration from Indian traditional art and temple murals, his work cannot simply be categorized as decorative. 'My decorativeness is a very sophisticated part of a visual language. It is not the ordinary sense of decorativeness,' says Ramachandran, in Open Magazine, A Ramachandran: 'I am an artist who paints by the acre', to Rosalyn D'Mello in 2019. Instead, it transcends conventional ornamentation to create visual drama that captivates the viewer. His vibrant canvases are imbued with a sense of blossoming life that celebrates nature and existence in its countless manifestations. In this work Ramachandran evokes a sense of movement and vitality, inviting the audience to engage with the complexity of life itself and the interconnectedness of all living things. This perspective elevates his art beyond mere decoration to a powerful expression of the human experience.'You see, just by sitting and observing alone doesn't help you. As an artist, the process of painting for me is to look at nature, and then, when I draw, starting from clear lines, I am trying to get an inner rhythm of each image. They are not just leaves. There is a flow of life that passes through each image. Now that gives a painting its own life.' ( A. Ramachandran)Finally, inspired by the natural surroundings and people of rural areas outside Udaipur in Rajasthan, Ramachandran weaves lyrical narratives adorned with motifs of flora and fauna to celebrate the beauty of these landscapes and their inhabitants. His art seeks to provide a reprieve, offering a soothing escape from the burdens of everyday existence. Rather than exacerbate their struggles, Ramachandran intends to bring solace to viewers. 'Instead of shouting slogans and fighting, why not console people? Why not, you know, sing them a lullaby and put them to sleep, like a mother to a child, or sing a song which is soothing, which lets people forget their miseries?' (A. Ramachandran)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

J. Sultan Ali (1920-1990)Nag-Puja signed and dated in Devanagiri and English 'Ali Sultan Ali 1965' lower right; further inscribed 'J Sultan Ali, Nag Puja (II), 87x122 cms, oil, 1965' versooil on canvas, framed87 x 122cm (34 1/4 x 48 1/16in).Footnotes:ProvenanceProperty from a private collection, London.Acquired from the artist;Acquired from the above.In Indian tradition, the serpent, or nag, is venerated as a powerful deity associated with fertility, protection, and renewal. The practice of snake worship dates back to the early Indus Valley civilization and continues to be an integral part of religious observances, particularly in rural and tribal communities. This reverence stems from the snake's dualistic nature—embodying both creation and destruction, life and death—qualities that resonate with the cycles of nature. Rituals dedicated to snake worship are often held at specific times of the year, such as during the festival of Nag Panchami (serpent worship), where devotees offer milk, flowers, and prayers at anthills or temples dedicated to snake deities. These practices are believed to appease the serpents and ensure the well-being of the land, crops, and community, while also warding off calamities. The serpent's symbolic role as a guardian of hidden knowledge and the earth's treasures further underscores its significance in mythology and folklore.J. Sultan Ali's Nag-Puja (snake worship) is a striking exploration of ritual and spirituality, rendered through the artist's distinct visual language that combines folk traditions with modernist aesthetics. The two central figures are stylised and elongated, their simplified forms set against a vivid, textured background, whilst the three figures to the right of the composition appear anthropomorphic. Ali's bold use of reds, oranges and yellows coupled with the rhythmic lines infuses the composition with a sense of movement and energy, reflecting the fervour and dynamism of ritual practices. Ali is famed for his 'bulls,' a recurrent motif in his oeuvre, and here there are two bulls depicted to the left of the canvas. Bulls represent strength, vitality, and spirituality, and Ali imbues the animal with a symbolic meaning that transcends its physical form. To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 25th October 2021, lot 21.This lot is subject to the following lot symbols: †† VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Moroccan cloth camel with beads and tribal folk art. 50cm high (AF)

Wonderful large original African tribal hand-painted batik that features a small group of zebras peacefully grazing in the savannah. Painted with outstanding earth tones, deep greens, and warm oranges, this hanging wall art is housed in an African geometric design black frame. Artwork dimensions: 53.50"L x 31"H. Frame dimensions: 58"L x 35"H x 1.50"W. Artwork can be unframed and rolled for shipment. Issued: 20th centuryDimensions: See DescriptionCountry of Origin: AfricaCondition: Age related wear. Minor loss of wood pieces on frame.

late 19th/early 20th Cent. Ivory Coast fire mask from the 'Dan' in wood with original beard made of human hair and original resin layer on the upper lip prov : ex-collection of Michel Gauld, St-Tropez with certificateAFRIKA - IVOORKUST - eind 19°/begin 20° EEUW zgn vuurmasker (ook lopermasker genoemd) van de "Dan" in hout met originele baard gemaakt van mensenhaar en originele harslaag op de bovenlip - hoogte : 30 cm prov : ex-collectie Michel Gauld, St-Tropez met certificaat van "Amma Tribal Art"

Tribal Art to include Tapestry. Largest 24 inches tall. See photos.

Tribal Art: Dogon granary door with carved breasts symbolising fertility and prosperity. Fixed to bespoke pine frame and stand. Door measuring approx. 161cm high and 65cm wide

Tribal Art: A small Samoan wooden bowl on legs, a Plains Indian wooden ladle, African carved wooden spoon, a Maori wooden box and an African Benin cast bronze anklet with bells

Tribal Art- Contemporary Masai silhouette print of Masai warriors , zebras and villagers etc. Approx. 32 x 25 cm

Tribal Art - African Naga bronze figure of a warrior, approx 22cm high

TWO WEST AFRICAN GHANA ASHANTI TRIBAL ART WOODEN STOOLS, and an East African Ethiopian tribal art headrest

A 19TH CENTURY SOUTHERN AFRICAN TRIBAL ART SHONA POWDER / SNUFF HORN, a South African Zulu snuff gourd and a decorated Zulu cow bone snuff spoon

THREE INDONESIAN TRIBAL ART CARVED TEAL WOOD BUSTS, and a large heavy Indian cartwheel hub

TWO ANTIQUE 19TH CENTURY SOUTH AFRICAN ZULU TRIBAL ART SPEARS, and two other African barbed fishing spears

Tribal Art - a Tesuque Pueblo Native American pottery ovoid vessel, decorated in polychrome with geometric shapes in the traditional manner, accompanying card inscribed 'Indian bowl made by an Indian of the Tesuque Pueblo near Sante Fe, New Mexico, 1936', 8.5cm high

20th century A.D. Various types, one with old collector's label 'Big Healing Figure / Sepik Papua New Guinea / 1970 purchase / New Guinea Tribal Art / Netherlands'. 1.68 kg total, 5.8-14.5 cm (2 1/8 - 5 3/4 in.). [8, No Reserve]Acquired 1970. From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.

Tribal Art -  a stylised hardwood elder, 36cm high;  a hardwood fruit bowl;  an African ovoid pot and cover, carved with bands, 37cm high;  an Imhof gilt desk clock, 7cm square champagne dial with Roman numerals,  8 day movement, marked 1552790, Swiss;  Potter, Beatrix The Tale Of Ginger & Pickles, The Tale of Johnny Town-Mouse, Peter Rabbit, Mrs Tiggy Winkle. The Tailor of Gloucester, Jemima Puddle Duck, Aplley Dapply's Nursery Rhymes etc

Tribal Art - a Burmese hardwood book stand, folding ends pierced and profusely carved with elephants and foliage, 46cm wide, c.1900;   a tribal mask, possibly West African;  hardwood figues;  etc

Two mid 20th century folk art tribal wooden hand painted frog masks with articulated jaws, H 17cm

Ethnographica & Tribal Art: A group of four African, Dan, Ivory Coast, tribal masks, carved wood with incised decoration having white, black and red pigments, largest 48cm long. (4)

Ethnographica & Tribal Art: A group tribal artefacts, to include an African plank mask, Bobo Bwa, Burkina Faso, the geometric and checkered features highlighted in white and red pigments, 80cm long, together with a sculpture of a Ashanti Antelope head, 46cm long, a Yaka fetish figure, of typical form, 45cm tall, and a cow bell. (4)

Ethnographica & Tribal Art: four African tribal Gabon, Adouma Duma masks, carved wood with incised decoration having white and red pigments, largest 34cm long. (4)

Ethnographica & Tribal Art: Two West African, South Gabon, carved wood Punu masks, highlighted with Kaolin white and red pigments, together with a Lega Bwami mask on stand, 46cm tall. (3)

Ethnographica & Tribal Art: A group of three African tribal masks, carved wood, coconut husk fibre ruff with incised decoration, painted black pigments, largest 70cm long. (3)

* Tribal Art. An Australian Aboriginal throwing club, elongated hardwood with a Christie's label (12 December 1989, lot 63), overall length 72.5 cm long, together with two boomerangs, one made of eucalyptus wood 83.5 cm, the other, hardwood and painted in the traditional style. 73.5 cm longQTY: (3)

* Tribal Art. An African knobkerrie, the hardwood club with spherical head and long shaft, 81 cm long, together with a Malayan kris, the 32 cm wavy steel blade with carved garuda hilt, overall length 39cm, in its wooden scabbardQTY: (2)

Tribal Art - a Bamana figure, 27cm high, Mali; others, Baule; Lobi; etc (6)

Tribal Art - a Dogon grain store or granary door lock, carved as a stylised crocodile, 43cm wide, Mali, West Africa; another, similar; another, figural (3)

Tribal Art - a Ewe figure, depicted seated, the arms gesturing, traces of white surface pigment, 26cm high, Togo; a Lobi bateba figure, 21cm high, Burkina Faso; another; a Fang reliquary head, 27.5cm high (4)

Tribal Art - a Fante Akuaba doll, stylised features, 26.5cm high, Ghana; another, Ashanti; a Lobi figural dance wand, Burkina Faso (3)

Tribal Art - a Hemba singiti ancestor figure, 41cm high, Democratic Republic of Congo

Tribal Art - a Lobi figure, 33cm high, Burkina Faso; another, 29cm high, collector's display stand; another (3)

India, Gupta, a stucco fragment of a female head, 4th-6th century h. 9,5 cm. Provenance: Paul Rutten Asiatic & Tribal Art, Amsterdam, july 2005. Collection Asiatic Art from Erik Maten en Hans van der Veer, Deventer, Holland. [1]

Tribal African Art. Original Dogon Granary Door With typical sliding lock Carving depicts typical images of sun lizards and a tortoise (or turtle), and figures with headress. These doors protected the window-like opening into each family's grain storage building, and used a simple sliding door lock. Primordial beings, ancestors, Kanaga masks, sun lizards and scenes of life symbolically served to protect the entrance by making it sacrosanct. The low reliefs are carved on several panels, held together by iron staples. The Dogon are an ethnic group indigenous to the central plateau region of Mali, in West Africa, south of the Niger bend, near the city of Bandiagara, and in Burkina Faso. The population numbers between 400,000 and 800,0001. The Dogon tribe is famous for their unique religious beliefs, wooden sculptures, mask dances, and distinctive architecture.  They are believed to be of Egyptian descent and their astronomical lore goes back thousands of years to 3200 BC

A Tribal art New Guinea Middle Sepik ceremonial lime container with incised geometric decoration to the bamboo handle and carved bird crest, 24", plus another similar container, 39" and a beaked figure, 13" tall.