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Statue Bioma, Golfe de Papouasie, Papouasie-Nouvelle-Guinée
BIOMA FIGURE, PAPUAN GULF, PAPUA NEW GUINEA
JUMP TO LOT
118
Statue Bioma, Golfe de Papouasie, Papouasie-Nouvelle-Guinée
BIOMA FIGURE, PAPUAN GULF, PAPUA NEW GUINEA
JUMP TO LOT

Details & Cataloguing

Arts d'Afrique et d'Océanie

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Paris

Statue Bioma, Golfe de Papouasie, Papouasie-Nouvelle-Guinée
BIOMA FIGURE, PAPUAN GULF, PAPUA NEW GUINEA

Provenance

Collection Thomas Schultze-Westrum, Berlin, acquis en janvier 1966
Loed et Mia van Bussel, Amsterdam
Collection John et Marcia Friede, New York
Collection André Fourquet, Paris
Stéphane Mangin, Paris
Pierre Bergé, Bruxelles, 5 juin 2007, n° 635
Collection Tomkins, New York, acquis lors de cette vente

Literature

Schultze-Westrum, Neu Guinea. Papua-Urwelt im Aufbruch,1972, n° 50
Webb, Embodied Spirits. Gope Boards from the Papuan Gulf / Esprits incarnés. Planches votives du golfe de Papouasie, 2015, p. 286-287, n° 111

Catalogue Note

Au sein du corpus des figures bioma du Golfe de Papouasie, cette œuvre se distingue par l'élongation du corps qui accentue la force de son élan vertical et par sa structure qui l'apparente aux planches votives Gope. Particulièrement élaboré ici, l'assemblage de motifs devait à la fois être identifiable par chaque membre de la communauté mais aussi être suffisamment séduisant pour attirer l'esprit de l'ancêtre qui, en retour, protégerait son propriétaire.

The Juban/Chubwan masks from the Vanuatu archipelago make up a small and varied corpus. These masks, which are little documented and belong to traditions that are now extinct, probably played an important role in the Tebat na Lobune rituals, recalling the sacred link between men and yams, and during the transition of initiated men to the highest rank. (Huffman in Bonnemaison, Vanuatu, 1996, p. 23 and 24).

They are usually subdivided into two styles, the archetypes of which were collected by Speiser between 1910 and 1912 and are now kept at the Museum für Völkerkunde in Basel: the former has a very narrow face (inv. No. Vb 4560); the latter has a large oval face, with lips that emphasize the curve of the chin and stretch out to the temples (inv. No. Vb 4562). The piece at hand, which belongs to the first style, stands out for its two-dimensional sculpted face, the remarkably forceful features that find a counterpoint in the beauty of the forms with their uncertain contours.

Arts d'Afrique et d'Océanie

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Paris