Statue, Bioma, Golfe de Papouasie, Papouasie-Nouvelle-Guinée

Acquis in situ par Thomas Schultze-Westrum, ca. 1965
Collection Loed et Mia van Bussel, Amsterdam (inv. n° v.bussel.zb.004)
Adrian Schlag, Bruxelles
Collection privée européenne 

Bruneaf, Mers du Sud, Art du Pacifique, 2008, n.p. 

Wear consistent with age and use within the culture. Good condition overall with beautiful carving filled with several colours including white lime and red pigments. The two arms and the proper left leg were broken and glued. Erosion to the proper left foot and small dents on all the figure. Exceptional surface on edges all around the figure as a result of its great age and prolonged use. Beautiful dark patina of the wood to the rear.
"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."

Parmi les témoins les plus renommés de la tradition sculpturale développée sur l’île de Nouvelle-Guinée s’illustrent les œuvres créées par les artistes vivant dans la région du golfe de Papouasie et qui demeurèrent méconnues du monde occidental jusqu’à la fin du XIX^e siècle. Leur inventivité s’exprime en particulier dans les statues bioma, sidérantes réinterprétations de la figure humaine en silhouettes sculptées en deux dimensions.

Servant à abriter temporairement les esprits des ancêtres et à rappeler leur présence aux vivants, ces créations faisaient l’objet d’un soin particulier afin de les séduire et de s’assurer leur protection. Si les figures bioma présentent une unité stylistique, cette dernière ne bride pas l’expression d’une vision artistique hautement individuelle. Cette œuvre s’impose ainsi par sa dynamique sculpturale aussi robuste qu'assurée, accentuée par la puissance des traits rehaussés de pigments blancs, ocre et noirs. Libéré de toute contrainte de cadre, le libre mouvement des volumes stylisés concentre l’attention sur le visage souriant, dont les oreilles ont conservé leurs ornements originels. L’ensemble du décor pictural symétrique – identifiable par tous les membres de la communauté – tout comme sa position singulière l’apparentent étroitement à la figure bioma acquise in situ en 1967 par George Craig dans le village de Naro (Voirin, Flack et Mérigot, Papouasie. Rites et formes de Papouasie Nouvelle-Guinée, 2009, p. 106-107).

Among the most famous examples of the sculptural tradition developed on the island of New Guinea are the pieces created by artists living in the region of the Gulf of Papua and which remained unknown in the western world until the end of the 19^th century.  Their creativity is particularly expressed in bioma figures, staggering interpretations of the human figure in silhouettes sculpted in two dimensions.

Used to provide temporary shelter to the spirits of ancestors and to remind the living of their presence, these creations were particularly well cared for in order to seduce them and to benefit from their protection. Although bioma figures display a stylistic unity, it does not impede the expression of a highly individual artistic vision. Indeed, this piece stands out for its robust, steady sculptural dynamics emphasized by the power of its lines enhanced with white, ochre and black pigments. Liberated from all framing constraints, the free movement of stylized volumes focuses attention on the smiling face, the ears of which have preserved their original ornaments. All the elements of the symmetrical pictorial decor - identifiable by all the members of the community -, as well as its singular position, link it closely to the bioma figure acquired in situ in 1967 by George Craig in the village of Naro (Voirin, Flack et Mérigot, Papouasie. Rites et formes de Papouasie Nouvelle-Guinée, 2009, p. 106-107).