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SOMMET DE BÂTON CÉRÉMONIEL, ARCHIPEL DES ÎLES AUSTRALES, POLYNÉSIE-FRANÇAISE |
估價
150,000 - 250,000 EUR
招標截止
描述
- haut. 45,5 cm ; 18 in
來源
John J. Klejman (1906-1995), New York
The Museum of Primitive Art, New York, acquis le 13 mars 1957 par Nelson A. Rockefeller (inv. n° 47.74)
Sotheby Parke-Bernet, New York, 4 mai 1967, n° 121
Collection privée américaine
Sotheby's, Londres, 27 juin 1983, n° 144
Collection Frieda et Milton Rosenthal, New York, acquis lors de cette vente
Sotheby's, New York, The Collection of Frieda and Milton Rosenthal : African and Oceanic Art, 14 novembre 2008, n° 115
Collection privée européenne, acquis lors de cette vente
The Museum of Primitive Art, New York, acquis le 13 mars 1957 par Nelson A. Rockefeller (inv. n° 47.74)
Sotheby Parke-Bernet, New York, 4 mai 1967, n° 121
Collection privée américaine
Sotheby's, Londres, 27 juin 1983, n° 144
Collection Frieda et Milton Rosenthal, New York, acquis lors de cette vente
Sotheby's, New York, The Collection of Frieda and Milton Rosenthal : African and Oceanic Art, 14 novembre 2008, n° 115
Collection privée européenne, acquis lors de cette vente
展覽
Colorado Springs, The Taylor Museum, Colorado Springs Fine Arts Center, Arts and Peoples of the South Pacific, 20 mars - 31 mai, 1961
Los Angeles, University of California Art Gallery, Primitive Arts, 4 mars - 15 avril, 1962
Los Angeles, University of California Art Gallery, Primitive Arts, 4 mars - 15 avril, 1962
Condition
Excellent condition overall. Really minors chips visible on catalogue illustration. Beautiful brown patina darker at some places.
"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."
拍品資料及來源
Le 13 août 1769, au cours de son premier voyage dans le Pacifique, le Capitaine Cook découvrit l’Île de Rurutu (qu'il connaissait sous le nom d’Oheteroa), située au sud de Tahiti, aux latitudes 22°25’S ; 151°20’W. Un canot de l’Endeavour approcha du rivage mais le récif et les courants l'empêchèrent d'accoster. Cook ne pouvait imaginer que cette petite île, simple tache dans l’immensité de l’océan Pacifique, deviendrait un des locus classicus de l’art Océanien – l’île d’origine de la célèbre statue A’a aujourd’hui exposée au British Museum, centre de création de l’Archipel des Îles Australes, aujourd’hui universellement reconnu pour la qualité et le raffinement de ses productions. Selon Barrow aucune œuvre « n’a réussi à surpasser la grâce des créations des îles Australes » (Art and Life in Polynesia, 1972, p. 117). En témoigne magistralement ce sommet de chasse-mouches de l’ancienne collection Nelson A. Rockfeller. Bien que leur corpus soit particulièrement restreint ces œuvres s’imposent comme des icônes de l’art Polynésien. Longtemps attribués aux îles de la Société, il a fallu attendre les années 1970 et les publications notamment de Roger Rose pour que l’archipel des Îles Australes soit reconnu comme le lieu de leur création. L’histoire et l’intensité des échanges entre ces deux archipels expliquent la collecte de nombreux chasse-mouches et autres objets rituels des îles Australes, dans celles de la Société - exportés ou réalisés par des sculpteurs des îles Australes installés dans ces îles voisines. Selon Hooper, l’attribution de ce corpus à l’île de Tupua'i est étayée par l’histoire de la collection de chasse-mouches du Peabody Museum (Université de Yale, inv. n° 7154.209919), acquise sur cette île en juin 1826 par le lieutenant Hiram Paulding, membre de l’équipage de la goélette américaine Dolphin.
Si ces œuvres, remarquables par la complexité de leur composition et la qualité de leur sculpture étaient, selon toute vraisemblance, utilisées comme insignes de haut rang, l'interprétation de leur iconographie demeure incertaine. Le motif superbe des figures adossées est diffusé dans d’autres parties de Polynésie, sans jamais avoir été clairement interprété. Il en est de même pour les motifs géométriques superposés, parfois identifiés comme la représentation symbolique des générations d’ancêtres, et servant comme moyen mnémotechnique pour l’évocation de la généalogie. A la différence de la plupart des créations des îles Australes qui, comme les pagaies 'cérémonielles', sont ornées d'un décor foisonnant, l'esthétique de ce chasse-mouche repose principalement sur sa forme. L'épure magistrale de ses formes et la beauté de sa surface répondent à l’élégance de la double figure anthropomorphe et imposent une saisissante modernité témoignant du talent magistral de son auteur.
On 13th August 1769, during his first Pacific voyage, Captain Cook discovered the island of Rurutu (known by him as Oheteroa) lying south of Tahiti at 22º 25′S; 151º 20′W. A boat from his Endeavour approached the shore but failed to make the difficult landing through the surf. Cook could not have known that the Austral Archipelago and this small island, a mere speck in the vastness of the South Pacific, would become a locus classicus of Oceanic art— the source of the famous A’a figure now in the British Museum. According to Barrow, the creations “of the Austral Islands remain unsurpassed for gracefulness of form” (Art and Life in Polynesia, 1972, p. 117). This handle of flywhisk formerly in the Nelson Rockfeller Collection illustrate this refinement perfectly.
Long attributed to the Society Islands, more particularly Tahiti, the work of Roger Rose has shown that the small corpus of fly whisks, tahiri ra'a, were almost certainly made on Rurutu or Tupua'i in the Austral Islands. The close links between the Austral and Society Islands means that many Australs fly-whisks and other ritual objects were collected in the Society Islands, although it is uncertain whether they were simply exported or whether Austral craftsmen settled in the Society Islands and worked there. Hooper states that the attribution to Tupua'i is strengthened by the collection history of a fly-whisk in the Peabody Museum, Yale University (no. 7154.209919), which was obtained on Tupua'i in June 1826 by Lieutenant Hiram Paulding of the United States Schooner Dolphin (Hooper, Robert and Lisa Sainsbury Collection, Volume II: Pacific, African and Native North American Art, 1997, p. 22).
These fly-whisks are remarkable for both the complexity of their composition and their sculptural quality. Whilst it is likely that fly-whisks served as insignia of high rank, the precise significance of their iconography remains obscure. The superb addorsed figure motif is encountered elsewhere in Polynesia, although its meaning has never been fully ascertained. The purpose of the series of the geometrical motifs carved below the figure is also uncertain, although they may represent different generations of ancestors and could have been used as a mnemonic during the recitation of genealogies. Most creations from the Austral Islands (e.g. the ceremonial paddles) feature abundant decoration, whereas the aesthetic of this flywhisk rely mainly on its form). The striking purity of its linesand the beauty of its surface combine to the elegance of the double human figure give to the piece an unmistakable modernity and reflects the consummate skill of the sculptor.
Si ces œuvres, remarquables par la complexité de leur composition et la qualité de leur sculpture étaient, selon toute vraisemblance, utilisées comme insignes de haut rang, l'interprétation de leur iconographie demeure incertaine. Le motif superbe des figures adossées est diffusé dans d’autres parties de Polynésie, sans jamais avoir été clairement interprété. Il en est de même pour les motifs géométriques superposés, parfois identifiés comme la représentation symbolique des générations d’ancêtres, et servant comme moyen mnémotechnique pour l’évocation de la généalogie. A la différence de la plupart des créations des îles Australes qui, comme les pagaies 'cérémonielles', sont ornées d'un décor foisonnant, l'esthétique de ce chasse-mouche repose principalement sur sa forme. L'épure magistrale de ses formes et la beauté de sa surface répondent à l’élégance de la double figure anthropomorphe et imposent une saisissante modernité témoignant du talent magistral de son auteur.
On 13th August 1769, during his first Pacific voyage, Captain Cook discovered the island of Rurutu (known by him as Oheteroa) lying south of Tahiti at 22º 25′S; 151º 20′W. A boat from his Endeavour approached the shore but failed to make the difficult landing through the surf. Cook could not have known that the Austral Archipelago and this small island, a mere speck in the vastness of the South Pacific, would become a locus classicus of Oceanic art— the source of the famous A’a figure now in the British Museum. According to Barrow, the creations “of the Austral Islands remain unsurpassed for gracefulness of form” (Art and Life in Polynesia, 1972, p. 117). This handle of flywhisk formerly in the Nelson Rockfeller Collection illustrate this refinement perfectly.
Long attributed to the Society Islands, more particularly Tahiti, the work of Roger Rose has shown that the small corpus of fly whisks, tahiri ra'a, were almost certainly made on Rurutu or Tupua'i in the Austral Islands. The close links between the Austral and Society Islands means that many Australs fly-whisks and other ritual objects were collected in the Society Islands, although it is uncertain whether they were simply exported or whether Austral craftsmen settled in the Society Islands and worked there. Hooper states that the attribution to Tupua'i is strengthened by the collection history of a fly-whisk in the Peabody Museum, Yale University (no. 7154.209919), which was obtained on Tupua'i in June 1826 by Lieutenant Hiram Paulding of the United States Schooner Dolphin (Hooper, Robert and Lisa Sainsbury Collection, Volume II: Pacific, African and Native North American Art, 1997, p. 22).
These fly-whisks are remarkable for both the complexity of their composition and their sculptural quality. Whilst it is likely that fly-whisks served as insignia of high rank, the precise significance of their iconography remains obscure. The superb addorsed figure motif is encountered elsewhere in Polynesia, although its meaning has never been fully ascertained. The purpose of the series of the geometrical motifs carved below the figure is also uncertain, although they may represent different generations of ancestors and could have been used as a mnemonic during the recitation of genealogies. Most creations from the Austral Islands (e.g. the ceremonial paddles) feature abundant decoration, whereas the aesthetic of this flywhisk rely mainly on its form). The striking purity of its linesand the beauty of its surface combine to the elegance of the double human figure give to the piece an unmistakable modernity and reflects the consummate skill of the sculptor.