° ° A collection of forty-one 20th Century titles relating to Erotica;Kearton, N., ‘Abstract Erotiscm, Touch Me’, 1996, paperback; Ernst, M., ‘Une Semaine de Bonté’, 1976, paperback; Thomas, P., ‘Kama Kalpa, the Hindu Ritual of Love’, hardback; Rawson, P., ‘Erotic Art of the East’, 1968, hardback; Gerhard, P., ‘The Pillow Book’, 1972, hardback; Schiff, G., ‘The Amorous Illustrations of Thomas Rowlandson’, 1969, hardback; Slocombe, R., ‘City of Broken Dolls’, 1997, paperback; Benedict, B., ‘The Blue Book’, 2007, paperback; Tulchin, L., ‘The Nude in Photography’, 1950, hardback; ‘Doris Kloster Photographs’, hardback, Leslie, C., ‘Wilheim Von Gloeder’, 1977, paperback; Edison, L.T. & Notkin, D., ‘Women En Large; Images of Fat Nudes’, 1994, paperback; Marnix, D.P., ‘Freaks: We Who Are Not As Others’, 1990, paperback x2; Arwas, V., ‘Felicien Rope’, 1974, paperback; Gomez-Vaëx, W., ‘City Indians’, 1983, paperback; Hill, C., Wallace, W., ‘Erotica’, 1996, hardback; Phyllis, D. & Kronhausen, E., ‘Erotic Art’, 1971, hardback; Celant, G., ‘Joel-Peter Witkin’, 1995, hardback, Aratow, P., ‘100 Years of Erotica’, 1973, paperback; Campbell, J., ‘The Power of Myth’, 1988, paperback; Mapplethorpe, R., ‘Lady Lisa Lyon’, 1983, paperback; Daniélou, A., ‘The Phallus’, 1995, paperback; Buckley, J. & Goldstein A., ‘The Screw Reader’, 1971, hardback; De La Bretonne, R., ‘Pleasures and Follies’, paperback; ‘Der Liebe Lust’, 1980, paperback, Fendi, P., ‘Genießet die Liebe’, paperback; de Sade, D.A.F., ‘Obliques’, 1977, paperback; Cole, W., ‘Erotic Poetry’, 1963, hardback; Bettelheim, B., ‘Symbolic Wounds’, 1995, hardback; Pierre, J., ‘Investigating Sex: Surrealist Discussions 1928-1932’, 1992, hardback; translated by Kurata, R., ‘The Harvest of Leisure’, 1948, hardback; Comfort, A., ‘Nature and Human Nature’, 1966, hardback; Davenport-Hines, R., ‘Vice’, 1993, hardback; Masters, R.E.L. & Lea, E., ‘Sex Crimes in History’, 1966, hardback; Farrar, J. & Farrar, S., ‘The Life & Times of a Modern Witch’, 1987, hardback; Saudek, J., ‘Jubilations and Obsessions’, 1995, hardback; van der Spek, D., ‘Joy: photography by Erwin Olaf’, 1993, hardback; Mapplethorpe, C., ‘Robert Mapplethorpe’, 1983, paperback; Rubin, A., ‘Marks of Civilization’, 1988, paperback; Ploss, H.H., Bartels, M. & Bartels P., ‘Femina Libido Sexualis’, 1965, hardback; Gerhard, P., ‘Pornography or Art?’, 1971, paperback; Woodroffe, P., ‘Mythopœikon’, 1976, paperback; Camphausen, R.C., ‘Return of the Tribal’, 1997, paperback; Ashford, R., ‘Erotique’, 1998, paperback; together with three magazines editions of Zoom.
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A LARGE BRONZE DANCER'S HEADPIECE IN THE FORM OF A PANJURLI BHUTA (BOAR SPIRIT DEITY)South India, Kerala or Karnataka, 18th century. The mask finely cast in openwork to depict the head of a boar spirit with large pierced almond-shaped eyes, neatly incised arched brows, the mouth agape revealing teeth and tongue, the long pierced snout and lips detailed with beaded decorations, the head surmounted by an intricately cast crown; topped by six cobras above beaded and floral decorations as well as a row of numerous smaller snakes. Provenance: German trade.Condition: Good condition with old wear and some casting irregularities. Losses, nicks and dents, a bit of verdigris here and there, particularly to back and interior. Naturally grown patina overall.Weight: 5,475 g (excl. stand)Dimensions: Height 48 cm (excl. stand)This dramatic dancer's headpiece in the form of a boar's head was created in the southwestern coastal region of Tulu Nadu (in the modern Dakshina Kannada and Udupi districts of Karnataka state and Kasaragod district of Kerala state), for ritual use in dance festivals propitiating and honoring the local tutelary spirit deities (bhuta). Hundreds of these elaborate community celebrations, called Dharmanema festivals, are held every year between February and May to venerate the regional pantheon of over 350 spirit deities. The boar spirit deity (Panjurli), one of the most powerful and important Genii Loci, is said to be borne of the forest and is thus particularly revered in this lush tropical region. He is also responsible for upholding righteousness through his identification as a manifestation of Vishnu, the supreme Hindu god of preservation and social order. This religious correlation is expressed by Panjurli's visual similarity to Varaha, the boar-headed avatar of Vishnu. Dancers' headpieces and masks are fashioned in a wide variety of iconographic forms and local artistic styles. They are typically quite large in size, and made in one of three primary media: wood, papier-mâche, and bronze. This headpiece is a tour de force of the genre because of its superb artistic quality, pronounced facial modeling, and complex ornamentation.With a modern stand. (2)Literature comparison: Compare a closely related copper alloy dancer's headpiece in the form of Panjurli Bhuta, 43.5 cm high, in the Los Angeles County Museum of Art, accession number M.2005.49a-b. For a comparable example, see Brian A. Dursum, Change and Continuity: Folk and Tribal Art of India, Florida, 1998, p. 38, fig. 62. See S. Aryan, Unknown Masterpieces of Indian Folk and Tribal Art, 2005, p. 61-63, for bhuta masks made in brass; and the exhibition Dancing Masks - Bronzes from Southern India, 17 May to 23 August, 2009 at the Museum Rietberg, Zurich.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2008, lot 345 Price: USD 12,500 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: Panjurli-Bhuta Mask Copper Alloy India, Karnataka, Tulu Nadu region Expert remark: Note the smaller size (38 cm)Auction result comparison: Type: Closely related Auction: Christie's New York, 18 September 2013, lot 246 Price: USD 16,250 or approx. EUR 20,000 converted and adjusted for inflation at the time of writingDescription: A brass bhuta mask of a boar, South India, Karnataka, 18th/19th century Expert remark: Note the size (42.6 cm)
A RARE AND IMPORTANT BRONZE RITUAL AXE-HEAD, YUE, EARLY SHANG DYNASTY, CIRCA 1500-1400 BCOpinion: Except for the different size, the present lot has remarkable similarities with a yue that bears a near-identical relief decoration surrounding the central hole, but lacks the taotie at the haft. This yue was excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and is now in the Hubei Provincial Museum. Discovered in 1954, Panlongcheng is a city-site that dates from the early Shang Dynasty. Located on the bank of Panlong Lake in Huangpi District, it covers an area of roughly 15 acres. The city conforms to the top-layer culture (circa 1500 BC) of the Shang site of Erligang in terms of bronze-making techniques, burial customs, styles of jade-wares, and features of pottery. It might have been a state built by Shang people in the middle reaches of the Yangtze to exploit resources in the south. Its discovery confirmed for the first time that the Shang culture of the Central Plains had reached the valley of the Yangtze River already during the early Shang Dynasty. The discovery of the yue in tomb 2 also confirms the function of the city as a military stronghold. Given the many features and striking resemblances that the present lot shares with the larger yue from Panlongcheng, and the provenance history described below, it seems possible, if not likely, that our yue was once found at the same site.China, ca. 1500-1400 BC. The wide flattened blade with a beveled edge, crisply cast in deep relief with Kui dragons with raised eyes flanking a large central aperture below two small rectangular holes, the haft similarly cast with taotie masks.Provenance: Mandala Fine Arts, Hong Kong, 1989. Acher Eskenasy, Paris, acquired from the above (invoice lost). Martin Doustar, Brussels, acquired from the above in 2011. An American gentleman, acquired from the above. A copy of a handwritten letter, signed by Acher Eskenasy, confirming his purchase of the present lot from Mandala Fine Arts, Hong Kong, in 1989 and its sale to Martin Doustar in 2011, accompanies this lot. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris.Condition: Superb condition, commensurate with age. Extensive wear, signs of weathering and erosion, corrosion, minor nicks, cracks and scratches. Fine, naturally grown patina with malachite encrustation overall.Weight: 838.8 g (excl. stand)Dimensions: Length 24.9 cm (excl. stand)With an associated metal stand. (2)The yue was an ancient long-handled weapon and instrument of execution, symbolic of noble authority. Evidence suggests that these axes played a part in ritual beheadings in addition to being symbols of power. Almost central holes also dominate several other early bronze axes, including two from Panlongcheng in Hubei province.Literature comparison: Compare a closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (41.4 cm) and lacking the taotie at the haft, excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and now in the Hubei Provincial Museum, illustrated by Wen Fong, The Great Bronze Age of China: An Exhibition from The People's Republic of China, The Metropolitan Museum of Art, New York, 2013, page 104, no. 7. Another closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (35.2 cm) and lacking the taotie at the haft, is in the Jiangxi Provincial Museum. Compare a closely related bronze yue, also with a large central hole, excavated in 1995 from Guojiazhuang Southeast, Tomb M26, and now in the Yin Ruins Museum. Compare a related bronze ceremonial axe, dated to the Eastern Zhou dynasty, 11th century BC, illustrated by Christian Deydier Oriental Bronzes Ltd., Le Banquet des Dieux, Bronzes Rituels de la Chine Ancienne, Paris, January 1996, page 37, no. 12. Compare a related yue axe, also decorated with taotie masks, dated to the Shang dynasty, 13th-11th century BC, from the collection of the King of Sweden, illustrated by Christian Deydier, Chinese Bronzes, Fribourg, 1980, page 86, no. 59. Compare a related qi axe with a human mask on the blade, in the collection of the Museum für Ostasiatische Kunst, Berlin, dated to the Shang dynasty, 13th-11th century BC, illustrated ibidem, page 88, no. 63.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 3 Price: USD 80,500 or approx. EUR 100,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual axe-head (yue), Shang dynasty, 12th/11th century BC Expert remark: Compare the related form, though slightly flared, similar relief decoration, and the taotie masks to the haft. Compare also the closely related rectangular holes. Note the smaller size (16.4 cm).公元前1500-1400年商代早期銅鉞中國，公元前約1500-1400年。器體呈梯形，長方形內直，肩部平直，兩側有對稱的長方形孔，弧刃，兩側略外張，器身中部有較大的圓孔，肩下及兩側各飾夔紋，柄上有饕餮紋。由於字數限制，完整中文敘述請至www.zacke.at查看。
A BLACK SCHIST STELE OF BUDDHA SHAKYAMUNI, PALA PERIODNortheastern India, Bihar, 10th century. Well carved seated in dhyanasana on a double lotus base, supported on a stepped pedestal adorned with numerous smaller figures, the palm of the hand and soles of the feet with neatly incised circles. Buddha's face with a benign expression and almond shaped eyes, the hair in tight curls surmounted by an ushnisha, wearing a sanghati draped over one shoulder, flanked by two pillars surmounted by stupas centering a nimbus with a stylized foliate border.Provenance: The personal collection of Arturo Schwarz, Milan, late 1990s. Leonardo Vigorelli, Bergamo, acquired from the above. Arturo Schwarz (1924-2021) was an Italian scholar, art historian, poet, writer, lecturer, art consultant and curator of international exhibitions. He lived in Milan, where he amassed a large collection of Dada and Surrealist art, including many works by personal friends such as Marcel Duchamp, Andre Breton, Man Ray, and Jean Arp. In 1975, Schwarz started working as curator and author, writing extensive publications on the work of Marcel Duchamp, as well as books and numerous essays on the Kabbalah, Tantrism, alchemy, prehistoric and tribal art, and Asian art and philosophy. His 1977 book on Man Ray's works and life was the first to reveal Ray's real name. Leonardo Vigorelli is a retired Italian art dealer and noted collector, specializing in African and ancient Hindu-Buddhist art. After studying anthropology and decades of travel as well as extensive field research in India, the Himalayan region, Southeast Asia, and Africa, he founded the Dalton Somare art gallery in Milan, Italy, which today is being run by his two sons. Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, some losses, nicks and surface scratches, structural cracks. The finely polished surface with a solid, naturally grown patina and an unctuous feel overall. Dimensions: Height 61.2 cm (excl. base) and 64.2 cm (incl. base)Mounted to a modern metal base. (2)Literature comparison:Compare a related stone figure of Buddha, 10th century, Bihar, in the collection of the British Museum, museum number 1942,0415.1.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 September 2011, lot 268Price: USD 86,500 or approx. EUR 111,000 converted and adjusted for inflation at the time of writing Description: A black stone stele of seated Buddha, Northeastern India, Pala period, circa 10th century Expert remark: Note the related size (63.5 cm)Auction result comparison:Type: RelatedAuction: Bonhams New York, 20 March 2018, lot 3224Price: USD 250,000 or approx. EUR 290,000 converted and adjusted for inflation at the time of writingDescription: A blackstone stele of crowned Buddha, Bihar, Pala period, 10th centuryExpert remark: Note the size (45 cm)Auction result comparison:Type: RelatedAuction: Christie's Paris, 22 June 2016, lot 11Price: EUR 71,100 or approx. EUR 83,000 adjusted for inflation at the time of writingDescription: A rare sedimentary stone stele of Shakyamuni Buddha, Northeast India, Pala Period, 10th centuryExpert remark: Note the size (31 cm)
Astley David Middleton Cooper (1856-1924) "Landscape at Eagle Peak, Montana, with meeting of Lakota, Sioux, and Cheyenne Warriors," O.O.C., signed and dated 1920, 243cms x 181cms (96” x 71”). (1) Provenance : Mallow Castle, Mallow, Co. Cork. In 1876, an alliance of Native American forces, led by the Lakota Sioux leader Sitting Bull, defeated the US 7th cavalry regiment under General Custer, at the Battle of Little Big Horn in Montana. The battle took place eight years after the signing of the Fort Laramie Treaty, which guaranteed the Black Hills of Dakota remaining the property of the Lakota Sioux. The Treaty was not honoured, and so an alliance was formed between Lakota Sioux, Cheyenne and Arapaho, to defend their lands against incursions by settlers and goldminers. This painting by Astley David Middleton Cooper is traditionally held to represent the formation of this alliance, in Montana, with Eagle Peak mountain in the distance. On the left is Sitting Bull, wearing a headdress arrayed with upright golden eagle tail feathers. To the right is the Cheyenne chief Two Moons, wearing a buffalo war bonnet. The third figure seated on the far side probably represents Chief Gall. In the background, across a ravine, can be seen the assembled Lakota warriors. Over the course of a life that spanned the second half of the nineteenth century and the first quarter of the twentieth, Astley David Middleton Cooper produced many evocative paintings, depicting Native American peoples and the magnificent landscapes of North America. His paintings, of warriors on horseback, tipi villages and herds of buffalo, charted the decline of Native American culture as tribal lands were encroached upon by European settlers, and did much to popularise the image of heroic Native Americans, struggling to maintain their way of life. However, Cooper was also sympathetic to settlers and the hardships they endured. One canvas depicts an abandoned covered wagon, surrounded by grazing buffalo, while a narrative series illustrates a settler and his daughter, held captive by a hostile tribe, and the ensuing hostage negotiations. Several poignant paintings include Lakota Sioux warriors – models in the artist’s studio - looking at canvases that portray their disappearing way of life. Cooper’s paintings are characterised by close attention to detail, such as clothing, beadwork, eagle feathers and brightly-coloured woven blankets. He also produced landscapes featuring rivers and forests—including Californian giant redwoods—as well as decorative works depicting cherubs, models and classical figures. Born in St. Louis, Missouri, Cooper’s father David Middleton Cooper was a leading Irish-born surgeon, while his mother, Fannie Clark O’Fallon was a grand-niece of William Clark, the explorer who took part in the famous trans-continental expedition of 1804. The artist George Catlin, who painted scenes of Plains Indian life, was a family friend. Having studied art at Washington University, Cooper travelled widely, living with Native American peoples and recording their culture in paintings and drawings. He spent two years in Boulder, Colorado, producing drawings for Frank Leslie’s Illustrated Newspaper, before settling in San Francisco, where he built up a successful practice as a genre and portrait painter. Among his sitters was General Ulysses S. Grant. In 1883 Cooper established himself at San Jose, building a large studio in an ornate Egyptian style. A sociable and popular figure in San Jose, Cooper often paid his bills at bars with paintings. He married late in life, in 1919, just five years before his death. His works can be found in many museums, particularly in the American West. In his Artists in California 1786-1940, the art historian Edan Hughes notes there are works by Cooper in the San Jose Historical Museum, Stanford Museum and the Oakland Museum. Relics of the Past, The Buffalo Head, a still life by Cooper in the Buffalo Bill Center of the West (Whitney Western Art Museum, Cody, Wyoming), includes portraits of Sitting Bull, Two Moons, Red Cloud and Chief Gall. Dr. Peter Murray 2022
Tribal & Ethnographical Art Craft: A collection to include a 19th Century Ethiopian ebony "Carding Comb," of large proportions with geometric design and surmounted with females head; two similar carved polychrome Figures of female carrying jugs each approx. 30cms (12") high; a Souvenir carved wooden Head - possibly Native American Totem style; a carved ebony Figure of a religious Female Figure, as a lot, w.a.f. (5)
Boxes & Objects - a Bakelite Smiths mantel clock; heavy cast iron outdoor lantern in the form of a telephone box; 19th century carved oak glove box; Mauchline ware needle case; slide rule; tribal carvings; Art Nouveau glass oil lamp with stylised pressed glass dolphin details to base; shoe lasts, dinner bell, stone from the houses of Parliament trinket dish, Bakelite Chesterman of Sheffield tape measure, another similar, etc qty
A pair of Colima figural vessels Mexico, circa 100 BC - 250 AD pottery, modelled as seated hunchbacks, with a red slip, 12cm high. (2) Provenance Sir Peter Hope KCMG, 1912 - 1999, British Intelligence Officer and later Ambassador to Mexico, 1968 - 1972. Woolley and Wallis, Salisbury, Tribal Art, 1 March 2017, lot 34. Romy Rey Collection, London. Exhibited Ancient Mesoamerica, Precolumbian Mexican and Maya Art, Birmingham Museum and Art Gallery, 4th June to 31st July 1970, no's 87 and 88.
A Moche stirrup spout vessel Peru, circa 100 - 700 AD pottery with all-over painted decoration including the base depicting a funeral scene with dignitaries, birds, animals and other figures, the sides with two relief frogs above a rimmed aperture, 23cm high. Provenance Woolley and Wallis, Salisbury, Tribal Art, 2nd September 2015, lot 49. Romy Rey Collection, London.
A Veracruz seated female figure Mexico, circa 500 -700 AD pottery, wearing an ornate headdress and ear plugs, with applied bead pupils and an open mouth, wearing a torque and ribbon tied bells to the arms, and an long skirt, with traces of bitumen to the headdress and red to the back of the skirt, 39.5cm high. Provenance Woolley and Wallis, Salisbury, Tribal Art, 11 February 2014, lot 541. Romy Rey Collection, London.
A Chancay staff Peru, circa 800 - 1200 AD with a janus mask having an open headdress on a part knopped shaft with a tapered end, with red, black and white pigment, 105.8cm long, on a stand. (2) Provenance Richard Gill Collection, Tampa. Andrew Tilden Collection, New Orleans. Woolley and Wallis, Salisbury, Tribal Art, 22 September 2020, lot 50. Romy Rey Collection, London.
A Machalilla standing female vessel Ecuador, probably circa 1500 - 1100 BC pottery, modelled with a forward leaning pose and wearing a rimmed headdress and having multi pierced ears, with red painted linear decoration, 31cm high. Provenance Mr Raymond Schultz, Ecuador and UK, and thence by descent. Woolley and Wallis, Salisbury, Tribal Art, 19 September 2018, lot 72. Romy Rey Collection, London.
A Lulua figural tobacco mortar Democratic Republic of the Congo the squatting figure with a recessed head and with a lid, having a linear carved coiffure and almond shaped eyes and pouting lips, with his hands supporting his head and with his elbows on his knees, to a large pair of feet, with a pestle, 10.6cm high, on a base. Provenance According to the Christie's footnote - Sent back to England in 1983 by a missionary who served in the Congo 1892-96. Cf Fagg. 1970, p.89ff. Nikolaisen and Yde, 1974, p.45. Christie's, London, Important Tribal Art, 29 June 1983, lot 175. Romy Rey Collection, London.
A Bijogo seated male figure Guinea Bissau wearing a rimmed hat and with relief zig-zag side coiffure, pouting mouth and a ribbed neck, on a pedestal stool with his hands supporting the sides, the encrusted patina with egg shells and with a tied fibre and leather cord with chicken skeletal remains to his right wrist, 50cm high, on a stand. Provenance Sotheby's, New York, Important Tribal Art, 29 Nov 1984, lot 171. Romy Rey Collection, London.
Literature - Relating to Tribal Art including - Anthony JP Meyer, Oceanic Art, 1995; Margaret Webster Plass, African Miniatures, The Goldweights of the Ashanti, 1967; Fergus Clunie, Fijian Weapons & Warfare, 1985; W. O. Oldman, Illustrated Catalogue of Ethnographical Specimens, 1976, numbered 730/1000; Julian Jacobs, The Nagas, Hill People of Northeast India, 1990; Manuel Jordan, Chokwe!, 1998. (25)
A Maya vessel Mexico, circa 250 - 740 AD clay, with an orange ground and painted three seated dignitaries wearing elaborate headdresses, with a group of glyphs, 14.6cm high. Provenance Seward Kennedy, London. Woolley and Wallis, Salsibury, Tribal Art, 1 March 2017, lot 100. Romy Rey Collection, London.
A Maya shallow bowl Mexico, circa 250 - 750 AD clay, with a painted seven point motif and bands, 33cm diameter, and a Maya shallow bowl, circa 100 BC - 300 AD, painted a sun face, tripod feet missing, 29cm diameter. (2) Provenance Larger - Sir Peter Hope KCMG, 1912 - 1999, British Intelligence Officer and later Ambassador to Mexico 1968 - 1972; Woolley and Wallis, Salisbury, Tribal Art, 1 March 2017, lot 42. Smaller - Sotheby's, London, 21 June 1993, lot 233 part. Romy Rey Collection, London.
A Mexican mask probably Teotihuacan mottled black stone, with brows, recessed eyes and mouth, the sides with attachment piercings, the back with a red painted collection number 35.7.143, 9.8cm high. Provenance Sir Jacob Epstein. Christie's, London, Tribal Art, 10 October 1995, lot 36. Romy Rey Collection, London.
Tribal Art. An African carved wood spoon in the form of a kneeling woman, possibly 19th c, 24.5cm l, a carved briarwood tobacco pipe in the form of the head of snarling dog, vulcanite mouthpiece, a Victorian copper culinary mould, Victorian glass inkwell with brass lid and contemporary painted papier mache plate, etc Mostly in good condition but with old dust and dirt
A tribal Art Yaka fetish figure, hung with snails and bamboo, fetish materials, crusty patina over much of the face and body, old type written label to underside of left foot 'BAYAKA stam (Yaka) Zaire FETISCH, zie boek Les Chefs-d'oeuvre Africains, de Marceau Riviere blz. 151 2/92 - no. 15ooo', (minor rot to both feet), 33" high.
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