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![Tribal Art - a Bassa [Basa] mask, concave features, elaborate coiffure, 27cm long, Liberia, West Africa](https://cdn.globalauctionplatform.com/4e8e14fe-7029-4ead-ba25-b0e00091453b/92e9e261-acae-4940-be19-b18f007ec560/468x382.jpg)
![Tribal Art - a Bassa [Basa] geh-naw mask, concave features, 25cm long, Liberia, West Africa](https://cdn.globalauctionplatform.com/4e8e14fe-7029-4ead-ba25-b0e00091453b/17cb3bf2-a8c1-4273-b9b9-b18f007ec4f1/468x382.jpg)
Lot 364
Two Toba Batak tribal art divination tusks, Sumatra Indonesia early 20th Century. Together with a carved bone shamanic object. The largest tusk 9.5 cm long. The carved bone totem 17 cm high (inc stand). Note:- The divination tusks are fashioned from the tusks of the Sumatran deer pig (Babirousa babyrussa), a protected species, however, they and are exempt from CITES licensing as they were worked before 1947. If sold/shipped outside the UK a buyer will need to arrange a UK CITES re-export permit.
Lot 445
AN ASSORTMENT OF TRIBAL ART SCULPTURES to include a green malachite egg 10cm height, a green malachite covered bowl with handled lid, 16cm internal diameter, a black soapstone abstract family in a Shona style, 28cm height, an African Makonde Tree of Life style sculpture, 32cm height, a Shona style abstract family wooden sculpture, 48cm height, a black wooden wall hanging, 49cm height, a wooden elongated tribal mask, 60cm, a carved hardstone hippopotamus and elephant (9) (Condition Report: fair condition)
Lot 85
William Turnbull (British, 1922-2012)Female signed with monogram, numbered and dated '5/6 89' and further stamped with foundry mark 'Livingston Art Founders' (on the base)bronze with a black patina194 cm. (75 1/2 in.) highConceived in 1989 and cast in 1993Footnotes:ProvenanceWith Waddington Galleries, London, 1993, where acquired by the present ownerPrivate Collection, U.S.A.ExhibitedLondon, Waddington Galleries, William Turnbull: Recent Sculpture, 25 September-19 October 1991, cat.no.10 (another cast)Caracas, Galeria Freites, William Turnbull, 18 October-10 November 1992 (another cast)Berlin, Galerie Michael Haas, William Turnbull, 17 October-28 November 1992 (another cast)London, Serpentine Gallery, William Turnbull, 15 November 1995-7 January 1996 (another cast)Chatsworth, Chatsworth House, William Turnbull at Chatsworth, 10 March- 30 June 2013, cat.no.66 (another cast)Munich, Galerie Thomas, William Turnbull: Skulpturen, April-June 2002 (another cast)London, Waddington Galleries, William Turnbull: Beyond Time, 9 June-3 July 2010, cat.no.19 (another cast)LiteratureVeronique Jaeger, William Turnbull: Recent Sculpture, Waddington Galleries, London, 1991, pp.24-25, 52, cat.no.10 (ill., another cast)Amanda Davidson, The Sculpture of William Turnbull, Lund Humphries, London, 2005, pp.25, 176, cat.no.265 (ill., another cast)William Turnbull (ed.), William Turnbull: Beyond Time, Waddington Galleries, London, 2010, pp.58-59, 103, cat.no.19, (ill., another cast)Patrick Elliott and Clare Lilley, William Turnbull at Chatsworth, Trustees of the Chatsworth Settlement, Chatsworth, 2013, p.47, cat.no.66 (col.ill., another cast)'Turnbull, like Giacometti, was more concerned with establishing an arresting, frontal image (as Giacometti once said, you don't walk around a person you meet, so why do it in sculpture?), one which tends to dominate space and radiate out into it' (R. Morphet, William Turnbull sculpture and paintings, London, Serpentine Gallery, 1996, p.34). William Turnbull was one of the leading sculptors of Post-War British Art and (along with Henry Moore and Barbara Hepworth) turned away from the long-established preoccupation with naturalism to uncover a new notion of what sculpture was meant to be and how viewers should interact with it. As a student at the Slade, he was often to be found at the British Museum studying archaic figures as well as ancient tools and weapons. The timelessness of these archaeological and anthropological artefacts appealed and, in addition to a period spent in Paris where he was exposed to the work of Alberto Giacometti and Constantin Brancusi, they were the foundation of the pared down modernity for which Turnbull is so celebrated. And whilst he identified with aspects of many artistic groups of the period, he allied with none, instead offering a staunch independence in both his life and work.In 1973, Richard Morphet curated a major retrospective of Turnbull's work at the Tate. When the artist saw the extensive exhibition, spanning every part of his career up to that point, he became conscious of the common themes and ideas that had informed his early career. In response to his experience of the Tate show and feeling inspired, he decided to redefine his earlier ideas about sculpture and form. After an interval of about twenty years, in 1979 Turnbull returned to making monolithic figures and developed a new series of idols that would preoccupy him for the rest of his career. The present lot is one such example.Dating from 1989 Female embodies, quite literally, all the hallmarks of Turnbull's oeuvre – a totemic form, pitted surface and schematic markings – all working in harmony to inform the viewer that this is woman, in her most fundamental form. Breasts, hands and genitals are all delineated with an economy of expression that recalls Turnbull's famous question: 'How little will suggest a head?' (quoted in David Sylvester, William Turnbull: Sculpture and Paintings, Serpentine Gallery, London, 1995, p.10). Indeed, the present work suggests the human figure with graceful sparsity - the upright blade which swells and narrows, the functional handles as arms and head, and fingers scoured onto the surface, both designs and anatomy. However, rather than reduce the range of images and interpretations of the work, this simplification intensifies the effect. By reducing any naturalistic element to a minimum, this formal concentration focuses attention on the symbolic flexibility of the works and the archetypal nature of its shape. Female is also unambiguously frontal, in the way that archaic Greek and ancient Egyptian art is with the artist focussed on producing an arresting, anterior image (unlike his aforementioned contemporaries whose concerns were more 'in the round'). The surface is rough much like weathered stone (or skin?) and etched with markings that recall tribal shields, masks and tattoos; the sweep of hair is scraped and grooved like an ancient stele. As ever though, the antiquarian source material is merely alluded to rather than overtly represented.Standing in space at almost 200 centimetres high, Female is a powerful and poised example by an artist confident in his vision and the figure asserts itself as a enduring statement of modern sculpture at its most avant-garde. Here, Turnbull has successfully navigated the distant past and the immediate present, combining and confronting the two to establish a timeless visual language, that was uniquely his own.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 70
A collection of terracotta / clay tribal folk art pots. The collection to include a large rounded pot / planter with chevron pattern textured detail to outer, alongside a small square pot / planter and rounded vase each with concentric circles carved design, two pierced terracotta dishes and another large pot / planter.
Lot 76
A large collection of ceramic tribal folk art bowls, pots, and vases. The collection to include a variety of examples. One example marked ' Care Ghana ' to base, with wicker and clay bead details, alongside a small dish with carved fish motifs, an earthenware vase with carved detail to top finished in a blue colouring, alongside other examples.
Lot 73
A collection of three clay tribal folk art pots. Each pot being of bulbous form. One featuring carved house motifs, encompassed by crosshatched decoration and rows of raised dots. Also to include two large pots / vases on having a rounded lid with small knob handle to top. Largest measuring approx. 25cm tall.
Lot 846
Tribal art. Papua New Guinea, comprising a Iatmul softwood figure, typically carved and picked-out in earth pigments, inset cowrie shell eyes, 66cm h, Korogo village, Sepik River, a Misingi River Ancestor figure with black pigment, 67cm h, Ramu River area, Madang Province, a softwood figure with raffia and feathers, and another item (4)
Lot 73
Faeq Hassan (Iraq, 1914-1992)The Desert Arabs oil on canvas, framedsigned 'Faeq' in Arabic (lower left), executed in 196462 x 75cm (24 7/16 x 29 1/2in).Footnotes:Provenance:Property from a private collection, LebanonPublished:Nuri Al-Rawi, Reflections on Modern Iraqi Art, 2016'Falcon, I trained you well, so I set you to swoop down on the houbara bustards—. all fled, frightened, in their flocks. Fly swiftly, bird, may you never fail to boldly seize their leader'Sheikh Zayed Al NayhanFaeq Hassan's painting 'The Desert Arabs' vividly captures the essence of Bedouin life, emphasizing the cultural significance of falconry and the pride rooted in tribal traditions within Arab culture. This artwork portrays a group of Arab figures, engaged in a scene that includes the prominent display of a falcon, a bird deeply emblematic of the Arab world's heritage and social customs.The figures in Hassan's work are depicted with a sense of solidity and resilience, characteristic of the Bedouin's proud heritage. Through 'The Desert Arabs,' Faeq Hassan celebrates the enduring spirit and cultural richness of the Bedouin tribes, whose lifestyles have historically been defined by their nomadic nature, strong familial ties, and deep-rooted values. 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
Lot 62
Farid Belkahia (Morocco, 1934-2014)Le Couple pigment on animal hide, two panelssigned 'F.Belkahia' and dated '1994' on both panels, executed in 1994160 x 80cm (63 x 31 1/2in).Footnotes:Provenance:Property from a private collection, LondonAcquired from a Farid Belkahia exhibition at the Musee de Marrakech in May 2001 by the above Exhibited:Fondation Omar Benjelloun, Farid Belkahia, du Musee de Marrakech, Place Ben Youssef, Palais Marrakech -Medina, 2001An important dyptich by Farid Belkahia exhibited at the Musee de Marrakech in 2001'Farid Belkahia's painting presents a couple depicted in simplified, tribal-style outlines on animal hide, invoking a sense of primal innocence reminiscent of ancient themes such as Adam and Eve' Farid Belkahia's painting presents a couple depicted in simplified, tribal-style outlines on animal hide, invoking a sense of primal innocence reminiscent of ancient themes such as Adam and Eve. The artwork strips back the complexity of form to basic outlines, leaving the couple nude yet modestly portrayed, focusing on their essence rather than their physicality. By omitting the heads and abstracting parts of the bodies, Belkahia transforms the figures into symbolic representations of primitive humanity. This approach not only captures the raw beginnings of human interaction but also highlights the timeless nature of human relationships, rooted deeply in our collective memory as a species.One of the foremost modernist artists in Morocco, Farid Belkahia began his training at the Ecole Nationale des Beaux-Arts of Paris from 1954 to 1959. He continued his studies in Prague until returning to Morocco in 1962 to become director of the Ecole des Beaux-Arts in Casablanca, a position he retained until 1974. Belkahia turned away from oil painting and easels in the early 1960s and began working primarily with large-scale hammered copper. While retaining multiple dimensions, the copper was meant to be hung on walls and was used to create bas-reliefs. Since the mid-1970s, Belkahia is best known for the work he has done with leather, which he treats using traditional techniques and stretches over shaped supports. He then paints the leather with naturally occurring dyes such as henna.The process of the work on both copper and leather is for Belkahia an important aspect of the creation of his art, and his work typically highlights not just the organic shapes that make up the content of the work, but the texture and dimensionality of the materials themselves. He has a consistent and carefully theorized taxonomy of symbols, shapes, and materials that resurface throughout his oeuvre. Belkahia's work typically uses sinuous, organic shapes that recall bodies or corporality. Many of his works use triangles, arrows, and hands, and often involve questions of sexuality. He often employs Tifinagh letters from the Amazigh alphabet and symbols culled from traditional visual culture within Morocco, derived from rugs, tattoos, and architecture. Part of the interest of his work, however, is the way in which these symbols are re-constituted and re-imagined to become an integral part of his modernist visual vocabulary.For further information on this lot please visit Bonhams.com
Lot 339
A SHADOW PUPPET, EASTERN DECCAN, SOUTHERN INDIA, 19TH CENTURY painted, cut and pierced vellum, depicting three cobras, their bodies entwined in numerous knots, 66 x 46cmProvenance: Private collection, LondonFor related puppets previously sold in these rooms, see 6 November 2023, lot 665, 20 November 2019, lot 211. A closely related puppet is in the Museum of Folk and Tribal Art, Gurgaon, near Delhi, (Aryan 2005, p. 83, no. 152).
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