Lot 32
  • 32

Maro, Humboldt Bay, Lac Sentani, Papouasie Occidentale, Irian Jaya

Estimate
10,000 - 15,000 EUR
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Description

  • Maro, Humboldt Bay, Lac Sentani
  • natural fiber
  • long. 100 cm x 50 cm
  • 39 1/3 in

Provenance

Vraisemblablement collecté par Jacques Viot en 1929
Collection André Lefèvre, Paris
Etude Ader Ribault-Menetière, Paris, Collection André Lefèvre, Art Nègre, Paris, 13 décembre 1965, n° 144
Collection privée
Collection Alexis Bonew, Bruxelles, acquis vers 1975

Condition

Good condition overall. Wear consistent with age and use within the culture. As visible in the catalogue illustration, the tapa was cut in 2 parts (Some old traces of nails remains visible), reassembled here, pasted on a board and framed. The upper right corner has a different thread from the rest of the fabric. The upper surface of the tapa shows traces of wear in places leading to 3 holes of materials (visible in the catalogue illustration). Colours and patterns are very well preserved.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Ce maro faisait partie du triptyque de l'ancienne collection d'André Lefèvre, dont les autres panneaux entrèrent dans la collection de Jean-Jacques de Launoit. 

"Chaque famille ou clan possédait ses propres motifs transmis de génération en génération et conservés sur des tablettes en bois. Motifs et ornements semblent avoir, en fait, des origines mythologiques, ce que suggèrent les récits locaux dans lesquels les décorations sont souvent mises en relation avec les esprits des ancêtres" (Hemkens in Peltier et Morin, Ombres de Nouvelle-Guinée, Arts de la grande île d'Océanie dans les collections Barbier-Mueller, 2006, p. 59).