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TAMBOUR LIVIKA, NOUVELLE IRLANDE, ARCHIPEL BISMARCK |
Estimate
120,000 - 180,000 EUR
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Description
- haut. 43 cm ; 17 in
Provenance
Collection Karl C. F. Hanssen, acquis ca. 1900
Transmis par descendance
Collection privée américaine
Sotheby's New York, 16 novembre 2001, n° 196
Collection privée européenne, acquis lors de cette vente
Transmis par descendance
Collection privée américaine
Sotheby's New York, 16 novembre 2001, n° 196
Collection privée européenne, acquis lors de cette vente
Condition
Excellent condition overall. As visible on the catalogue little loss of material on the lower part of the crest. Marks and chips all over the surface but wear consistent with archaic age and use of this piece. Old label on the proper right side of the drum. At the rear two open and stable cracks. Beautiful dark patina lighter on the friction part and particularly encrusted in the carved parts.
"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."
"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
« A la fin du XIXème siècle, on estime qu’environ 100 000 personnes vivaient sur l’île de Nouvelle-Irlande et ses archipels. [..] Des petits groupes d’hommes y avaient développé des traditions artistiques remarquables avec une exubérance et une créativité extraordinaire. […] Ces objets ethnographiques et œuvres d’art exerçaient une véritable fascination sur les directeurs de musées qui cherchaient à s’en procurer grâce aux résidents coloniaux, aux voyageurs ou aux expéditions scientifiques » (Beaulieu in Hourdé, Realm of the Ancestors, 2018, p. 93). Appelés communément livika, ces instruments étaient également nommés lapka, lounnet et lianuat en fonction de leur région d’origine, tous ces noms faisant référence à des oiseaux endémiques de l’archipel ils rappelaient ainsi le son si particulier de cet instrument. En effet « Les Néo-Irlandais voient dans cet instrument une sorte d’oiseau et chaque livka a son propre nom » (Gunn et Peltier, Nouvelle-Irlande. Arts du Pacifique Sud, 2006, p. 192). Tenus secrets des yeux des femmes, ils étaient joués lors des funérailles d’un membre important du clan et accompagnaient la veillée et les funérailles. Rendant présente la voix du défunt lors des cérémonies organisées en son honneur ces instruments avaient une forte valeur symbolique et étaient communément détruits à la mort de leur propriétaire.
Au sein de ce corpus aussi rare qu’emblématique ce tambour s’affirme tant par son archéisme – attesté par la profonde patine et les traces d’utilisation – que par sa modernité. A l’épure de la forme générale répond la délicatesse du décor finement gravé dans la partie supérieure qui évoque un visage humain ou animal. Seulement une cinquantaine de ces instruments sont répertoriés dans les collections muséales et privées, au sein de cet ensemble celui-ci s’apparente très étroitement au tambour conservé au Saint Louis Art Museum (inv. I32 :I1978) acquis en 1908 par Wilhelm Wostrack.
“In the late 19th century, the population of the island of New Ireland and its archipelagos was estimated to number 100,000 people. [...] Small groups of men had developed remarkable artistic traditions with extraordinary exuberance and creativity. [...] Museum directors were absolutely fascinated by these ethnographic objects and works of art and sought to acquire some through colonial residents, travellers or scientific expeditions.” (Beaulieu in Hourdé, Realm of the Ancestors, 2018, p. 93).
Commonly known as livika, these instruments were also called lapka, lounnet and lianuat depending on their region of origin. All these names refer to birds endemic to the archipelago, and their cry recalled the very distinctive tones of this instrument. Indeed, “New Irelanders see this instrument as a kind of bird and each livka has its own name” (Gunn and Peltier, New Ireland: Arts du Pacifique Sud, 2006, p. 192). They were kept hidden from women's view, brought out at funerals of prominent clan members and accompanied the vigil and burial. These instruments had a strong symbolic value and were generally destroyed when their owner died.
Within this rare and emblematic corpus, this drum stands out both for its antiquity - seen in its deep patina and traces of use - and for its modernity. The pared down beauty of the overall form foils the intricate decor. Finely engraved in the upper part, this imagery evokes either a human or an animal face. Only fifty or so of these instruments are recorded in museums and private collections, and the one at hand is very closely related to the drum kept at the Saint Louis Art Museum (inv. I32: I1978) acquired in 1908 by Wilhelm Wostrack.
Au sein de ce corpus aussi rare qu’emblématique ce tambour s’affirme tant par son archéisme – attesté par la profonde patine et les traces d’utilisation – que par sa modernité. A l’épure de la forme générale répond la délicatesse du décor finement gravé dans la partie supérieure qui évoque un visage humain ou animal. Seulement une cinquantaine de ces instruments sont répertoriés dans les collections muséales et privées, au sein de cet ensemble celui-ci s’apparente très étroitement au tambour conservé au Saint Louis Art Museum (inv. I32 :I1978) acquis en 1908 par Wilhelm Wostrack.
“In the late 19th century, the population of the island of New Ireland and its archipelagos was estimated to number 100,000 people. [...] Small groups of men had developed remarkable artistic traditions with extraordinary exuberance and creativity. [...] Museum directors were absolutely fascinated by these ethnographic objects and works of art and sought to acquire some through colonial residents, travellers or scientific expeditions.” (Beaulieu in Hourdé, Realm of the Ancestors, 2018, p. 93).
Commonly known as livika, these instruments were also called lapka, lounnet and lianuat depending on their region of origin. All these names refer to birds endemic to the archipelago, and their cry recalled the very distinctive tones of this instrument. Indeed, “New Irelanders see this instrument as a kind of bird and each livka has its own name” (Gunn and Peltier, New Ireland: Arts du Pacifique Sud, 2006, p. 192). They were kept hidden from women's view, brought out at funerals of prominent clan members and accompanied the vigil and burial. These instruments had a strong symbolic value and were generally destroyed when their owner died.
Within this rare and emblematic corpus, this drum stands out both for its antiquity - seen in its deep patina and traces of use - and for its modernity. The pared down beauty of the overall form foils the intricate decor. Finely engraved in the upper part, this imagery evokes either a human or an animal face. Only fifty or so of these instruments are recorded in museums and private collections, and the one at hand is very closely related to the drum kept at the Saint Louis Art Museum (inv. I32: I1978) acquired in 1908 by Wilhelm Wostrack.