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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.

Set of 3 Vintage Copper saucepans, copper hammered tray, brass weights and tribal art brass pot.

An Indian sword stick cane with brass lion handle top, West African Nigerian leather covered staff, East African tribal art Masai club, wooden South African Zulu spear, a poison arrow etc

Mixed lot of African tribal art curved masks to

A large 19th century African tribal art Congo spear with leaf shaped head, a tribal staff / bow, antique shepherds crook and another tribal type digging tool

A collection of three works on Mesopotamian & South-West African art. The lot compirising 1930 Bushman Art, Rock Paintings of South-West Africa based on the photographic material collected by Reinhard Maack, by Hugo Obermaier & Herbert Kuhn; first ed., publ. Humphrey Milford, richly illustrated with tipped in plates depicting the tribal artworks. Along with two copies of L'Art de la Mesopotamie by Christian Zervos, publ. Cahiers d'Art, Paris, both richly illustrated with black & white illustrations. Loosely inserted is a copy of a criticism of this book by Henry Moore for The Listener, 5th June 1935. Each in the publisher's orig. paper covered boards with fold around dust wrapper. A collection of important art criticisms on Mesopotamia and Africa, exploring ancient and tribal styles and design. 4to.

Tribal Art and Weaponry - a large Benin spearhead, copper coil, 52cm long, 20th century; another, a sickle or bush knife, beadwork haft; another, iron spear (3)

Tribal Art - a North African carved wooden figure, of a woman parting her hair, circular base, 66cm high overall

A collection of auction catalogues; mainly Christie's, Asian Art - Tribal.

Four books about Tribal art and a book about the art of Ernst Fuchs. [5]

A collection of Tribal Art Magazines, Tribal Arts and Art Tribal. [ds]

A mixed lot comprising metalware to include brass, plated and other, tribal art and other. [W]

Tribal art, an African animal hair fly swatter with wooden handle carved in the form of a figure, and several white metal bands (l- 77cm including fronds)

ATTRIBUTED TO JEAN DENIS ATTIRET (WANG ZHICHENG 1702-1768)Portrait of a Young Prince thought to be Yonghuang (1728-1750)Oil on Korean paper, in beaded giltwood frame and glazed. 70.5cm (27 3/4in) high x 58.4cm (23in) wide.Footnotes:傳 王致誠（1702-1768） 年輕皇子肖像「或為永璜（1728-1750）」 紙本油畫 鏡框Provenance: Martyn Gregory, London, acquired in 1999Collection of John Keane (1931-2022)Martyn Gregory, London來源：倫敦古董商 Martyn Gregory，獲得於1999年 John Keane (1931-2022)舊藏倫敦古董商 Martyn GregoryPublished, Illustrated and Exhibited: Martyn Gregory, In the Wake of the Indiaman: catalogue 76, London, 2000, pp.28-29, no.38. 展覽著錄： Martyn Gregory，《In the Wake of the Indiaman: catalogue 76》，倫敦，2000年，第28-29頁，編號38Since the establishment of missions to China by the Jesuit Matteo Ricci in the late 16th century, missionaries had utilised their knowledge of Western technology to serve the Emperor. Among the most celebrated in the arts were Giuseppe Castiglione (郎世寧, 1688-1766), who worked as an artist at the Imperial Court from 1715 until his death in Beijing in 1766, and Jean-Denis Attiret (王致誠, 1702-1768), who reportedly executed 'more than two hundred portraits of persons of different ages and nations', including a 1754 portrait of the Qianlong Emperor. These artists were succeeded by others, notably Giuseppe Panzi, who entered the Emperor's service in 1773. During the British embassy's visit led by Lord Macartney in 1793, Panzi and the French Jesuit Louis de Poirot (1735-1814), who had joined the Emperor's service in 1771, were summoned to Jehol as portrait-painters, see L.Pfister, Notices biographiques et bibliographiques sur les Jésuites de l'ancienne mission de Chine, 1552-1773, Shanghai, 1954, pp.966-974, and J.L.Cranmer-Byng, 'Lord Macartney's Embassy to Peking in 1793 from Official Chinese Documents', Journal of Oriental Studies, Hong Kong., IV, 1-2, 1957-8, pp.150-151.The strongest case for the attribution of the present work comes from a careful study of the eight portraits of Dzungar Mongolian tribal chieftains within the collection of seventeen portraits of meritocratic officers in the Museum für Völkerkunde, Ostasienabt in Berlin. The attribution of these works has been subject to change over time. Initially Rasidonduk and Veit (1990) assumed that all the works were of the hand of Jean-Denis Attiret. However, this was proved false by Wang Ching-ling (2016) who noted the records of the Collection of Archives of the Imperial Household Department of the Qing dynasty stated Giuseppe Castiglione was the painter of the portrait of Dawaqi (-1759) from the set. Records also noted that paintings from the set were created by Giuseppe Castiglione and Ignaz Sichelbarth (艾啓蒙, 1708-1780) and others. Beyond this he provides a stylistic assessment of the works which is not altogether convincing. This is critiqued by Wang Youmin (2020) ('On the Oil Portraits of Qing Dynasty Dzungar Mongolian Tribal Chieftains Collected in Berlin', Journal of Gugong Studies, vol 20) but neither Wang is able to provide definitive attributions beyond the Dawaqi portrait. Aside from this portrait perhaps the most interesting work as a point of comparison is that of Che Ling (1697-1758) which Wang (2016) attributes to Jean-Denis Attiret and Wang (2020) attributes to Jean-Denis Attiret or Giuseppe Castiglione. The interest of this piece is that it is the closest stylistically to the present work. In particular the treatment of the eyes with a heavy outline to the upper edge, and a lightly positioned dot of white to the upper left quartile of the pupil. The brushwork is similarly pared back with well blended colours and shading. There is also a tendency in both paintings to enlarge the jawline beneath the sitter's right cheek, this is also observed in the Dawaqi portrait. The present sitter, unlike Che Ling, wears a conical hat, in common with six of the eight sitters in the group of works. The level of detail of the black brocade wrapped rim, where the gold detailing has been made out, is only present in the portrait of Dawaqi. Thus the present work shares characteristics with two of portraits but appears to be a distinct hand from the portrait of Dawaqi, being more consistent with the painting of Che Ling. As such this piece may be best attributed to Jean-Denis Attiret. Regarding the identity of the sitter there are various factors that lead us to his identity. First, it is apparent that the sitter must be a Royal Prince. His conical hat with red topknot (huang taizi xiji fu guan皇太子夏吉服冠) is recorded in the Huangchao li qitushi 皇朝禮器圖式 as designated for princely use. Furthermore, the pale whiteness of his skin is of a hue reserved royalty, see for example, for example in the Portraits of the Qianlong Emperor and His Twelve Consorts, in the collection of the Cleveland Museum of Art, in contrast to the more ruddy complexions of the eight Dzungar Mongolian tribal chieftains' portraits.Second, he must have been a young man at the time when his portrait was painted and third, he must have had sufficient status to have his portrait painted as a young man. Although our comparisons above date to around the year 1755, oil paintings were being produced as far back as 1745, the year of creation of the portrait of Huixian (1711-1745) (illustrated in China: the Three Emperors 1662-1795, cat no 96). It is also noted in letters by Amiot in 1754 that Jean-Denis Attiret engaged in portrait painting soon after his arrival in China (Giuseppe Castiglione: A Jesuit Painter at the Court of the Chinese Emperors, p.106). He arrived in China in 1737. This is important because the prince who appears to fit these criteria most closely is the Qianlong Emperor's first-born son, Yonghuang (永璜, 1728-1750). He is often depicted close to the Emperor directly beside his second son who died at the age of eight with a number of the portraits having been done posthumously. This includes the painting in the collection of the Palace Museum entitled Hongyi Watching Lotus Plants Whilst Playing the Qin (弘曆觀荷撫琴圖) attributed to Castiglione. Here the two sons are depicted behind the Emperor, with the older characteristically partially obscured behind a vertical pillar, the younger depicted posthumously. Another portrait entitled Qianlong Enjoying New Year Celebrations (乾隆帝歲朝行樂圖軸) thought to date to 1747 depicts the princes at the apparently slightly younger age of 19. The former portrait, the more naturalistic of the two compares favourably with the present portrait. There are similarities in the upper line of the eye, the curve of the nasal bridge, the jawline and curve of the cheek bones, the overall shape of the ear including the protruding antihelix. Whilst he died at the age of twenty-two it is also worth noting that he appeared in a number of portraits after his death as did his younger brother.The closeness of Yonghuang to the Qianlong Emperor is well noted. They appear in at least five group portraits together. Following Yonghuang's death the Emperor composed numerous poems eulogising his son.For further information on this lot please visit Bonhams.com

Danbury Mint Shirley Temple 11 x resin figurines from the Shirley Temple Silver Screen Collection, some damage throughout, missing certificates; Leonardo boxed doll; doll size tribal art wooden stool, handcrafted in Africa; doll size carved wooden rocker (one ear is chipped away); Fair to Excellent; (qty).

A tribal art style CD rack, height approx. 205cm

A collection of hardwood carved figures and tribal art to include bowls, stands, vases, etc.

ABI OLA (BRITISH / NIGERIAN B. 1996) ⊕ A PEACEFUL EVENINGsigned, titled and dated Abiola 2018 versomixed media on canvas59 x 84cm; 23 1/4 x 33inunframedProperty from a Private Collection, LondonAbi Ola, born in London, is a multidisciplinary artist whose creative odyssey draws from a rich tapestry of influences, including family photographs, tribal art, African and British textiles, William Morris designs, emojis, and her vivid imagination. Her interests encompass fabric collage, installation, oil and acrylic painting, screen printing, and photography.Ola’s canvases feature faceless figures, a deliberate choice aimed at enabling viewers to connect with the idea of acquainting oneself with distant, never-met relatives. Her enigmatic subjects invite viewers to overlay their own identities or those whom they cherish.The artist’s work transcends conventional notions of expression, offering a universally resonant lexicon that spans time and culture. She forges a visual language that defies temporal and spatial boundaries, igniting conversations on cross-cultural exchange.Ola holds a BFA from Goldsmiths, University of London and an MFA from the Slade School of Fine Art at University College London. Recent exhibitions include solo shows High Street Happenings at Arbeit Studios Palmers Green, 2024, and I’ll Be Your Mirror at the Kupfer Gallery, 2023. Group shows include: New Contemporaries at the South London Gallery, Humber Street Gallery, and Ferens Art Gallery, 2022-23; Ferens Open at the Ferens Art Gallery, 2023; and The Good Eye Projects end of residency group exhibition at Christie’s, 2022.

Tribal Art - a Polynesian hardwood rectangular treasure box, of stepped geometric 'totem' form, inlaid with mother of pearl lozenges, push-fitting cover, 34.5cm high, possibly Tokelau

Tribal Art - a Maori hardwood tiki pendant, typically carved and pierced, 9cm long, New Zealand, first-half 20th century

Tribal Art - a West African colon figure, carved as a man wearing European attire and smoking a pipe, 28cm high, probably Baule, Ivory Coast; another, as an academic, waering robes (2)

Tribal Art. A Dan Guere figure with cowrie shells, Cote D'Ivoire, 58cm high.

Tribal Art. A Dan ceremonial drum, Cote D'Ivoire, 122cm high.

Tribal Art -  a stylised hardwood elder, 36cm high;  a hardwood fruit bowl;  an African ovoid pot and cover, carved with bands, 37cm high;  etc

A group of three carved wooden African tribal art folkloric figures/desk ornaments (tallest h- 19cm)

A group of African tribal art carved wood sculptures comprising a seated figure, and two naturalistic carved wooden figures (tallest h- 37cm) 

A group of African tribal art carved wooden sculptures comprising a large folkloric figure (h- 56cm), a mask, and a good bust of a head 

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

A large carved wood tribal art fertility figure modelled as a pregnant woman, marked 'Mating' to base (h- 57cm)

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

Three Tribal art various Australian aboriginal boomerangs

Tribal Art - pair of African carved wooden leaf paddles and a Masai Lion Spear

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

Brass Sir Walter Scott wall plaque and collection of figures to include heavy brass african tribal art sculpture of man sitting and military figure giving to Major General G B Sinclair 1983

Tribal art staff wooden

A tribal Art carved wooden spoon and fork