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GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

Art Gallery the Eye and the Hand
Result of the research Result of the research : 'over'

Gelede mask, Yoruba, Nigeria
Gelede mask, Yoruba, Nigeria
€ 22,000.00
Female Kifwebe mask, Songye, Democratic Republic of Congo
Female Kifwebe mask, Songye, Democratic Republic of Congo
€ 12,000.00

( auction african art, african art sell, art african sell, sell african mask, art primitif sell, art tribal sell, art tribal auction, sell primitive art mask, Auction )
From Wikipedia, the free encyclopedia
 
"Auctioneer" redirects here. For the DC Comics supervillain, see Auctioneer (comics).
 
An auctioneer and her assistants scan the crowd for bidders.An auction is a process of buying and selling goods or services by offering them up for bid, taking bids, and then selling the item to the highest bidder. In economic theory, an auction may refer to any mechanism or set of trading rules for exchange.

There are several variations on the basic auction form, including time limits, minimum or maximum limits on bid prices, and special rules for determining the winning bidder(s) and sale price(s). Participants in an auction may or may not know the identities or actions of other participants. Depending on the auction, bidders may participate in person or remotely through a variety of means, including telephone and the internet. The seller usually pays a commission to the auctioneer or auction company based on a percentage of the final sale price.

 History of the auction
 
Artemis, Ancient Greek marble sculpture. In 2007, a Roman-era bronze sculpture of "Artemis and the Stag" was sold at Sotheby's in New York for US$28.6 million, by far exceeding its estimates and setting the new record as the most expensive sculpture as well as work from antiquity ever sold at auction.
An 18th century Chinese meiping porcelain vase. Porcelain has long been a staple at art sales. In 2005, a 14th century Chinese porcelain piece was

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Enchères et émotions
AuteurRolande Bonnain-Dulon du même auteur

École des hautes études en sciences sociales
EHESS
Centre de recherches historiques
54, bd Raspail
75006 Paris

Au-delà de leur public bien sûr, les ventes aux enchères passionnent les sociologues et les ethnologues et ce, à juste titre [Matras-Guin, 1987 ; Quémin, 1993 ; Rémy 1990]. Grâce à eux, on a compris pourquoi cette pratique sociale qui mêle l’économique au symbolique, le rationnel aux émotions, l’individuel à une certaine forme de collectif attire tant de gens qui vont là comme au spectacle, par curiosité, sans avoir toujours l’intention de participer aux enchères. Ces chercheurs nous ont également montré le rôle que ces lieux ont joué sur la constitution des communautés diffuses et temporaires, la mise en place de rituels profanes, le vécu de la concurrence, le rapport aux objets, le métier de commissaire-priseur.
2 Avec cet article, nous visons à montrer la forte incidence du lieu et les effets de sa représentation sur l’existence, les pratiques et les particularités d’un certain monde[1] [1] On utilise ici le terme « monde » dans le sens que lui...
suite, celui des collectionneurs d’arts premiers[2] [2] L’expression « arts premiers » désigne ici, sans...
suite dont les objets acquièrent lentement le statut d’art classé, en particulier en ces temps où le Louvre les accueille.
3 Aujourd’hui, les anciennes puissances coloniales ne se livrant plus à des guerres de conquête, une pièce classée dans les arts premiers n’a guère

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Moro Naba la mort du roi Mossi Jean Rouch

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The Nok civilization

The Nok civilization was discovered recently, in 1943 a fragment of a terracotta statue was unearthed in a tin mine near Nok on the Jos Plateau in central Nigeria. Following the discovery of other pieces of statues of high artistic quality were found near the city of Sokoto and creates lots of reactions when they appeared on the market of Western art. Since that date the statues from the city of Katsina still in northern Nigeria have been discovered, but like most of these magnificent statues excavated from unregulated very little information has reached us about their functions.

Several styles of terracotta statues were identified all dated between 400 BC and 200 AD there is currently very difficult to know if these styles correspond to different traditions or they are just regional variations.
More statues of styles, differences were found in the same regions, such as a number of terracotta-called classical style have been discovered in the region of Katsina to three hundred kilometers from their cultural center: the town of Nok.
It is likely that future research will give us more information on what is currently one of the great mysteries of African art.

The classical style known as Nok terracotta, includes statues of real size, with large elongated heads , hair forms developed and we identified them especially thanks to the eyes of an eyebrow and upper linear lower curve of an eyebrow, Their body is usually decorated with many jewels in terracotta, reminiscent of beads stones otherwise similar to those that were found during excavations.

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The Pende


The Pende pushed north by the Lunda, during the 17th, settled in an area located between Loango and Kasai regions. Two hundred years later Tchokwe invaded the territories for when they migrated north from Angola, but were forced to return the territories annexed by the Belgian colonizers. The 500000 Pende mainly farmers are not governed by a central authority but by the heads of households, known as the Djogo, sometimes aided by the noble nobles. Young men are organized by age group, and must pass through various initiatives including that of circumcision during adolescence.

Art Pende can be divided into two traditions, arts, the first comes from Western Pende who live along the river Lodango, the second focuses on the eastern Pende along the Kasai River.


Masks:

The Western Pende have used a dozen different types of masks during their ceremony, they have eyes looking down a triangular nose, and sometimes leaving a protruding mouth see the teeth.

Often found three types of masks in Western collections. The first long-beard is called Kiwoyo Muyombo. The second known Mangu, show the features distorted, probably evoking the effects of an epileptic seizure. The third mask Phumbu chief called, has a hair divided into three parts.

Masks and helmets masks, associated with Pende, Oriental Minyangi are called respectively, and Giphogo. Worn by dancers during initiation ceremonies, they have

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The Yoruba


The term Yoruba describes both a language and a tribe living between Nigeria and the Republic of Benin, in an area covered by forests and savannah. Their history can be traced from the beginning of our millennium, with the civilization of Ife. Following the collapse of the kingdom of Ife kingdom of a number such as Oyo and Ijebu emerged, they in turn disintegrated during the 18th and 19th, but were revived by the colonial powers, to the end of the 19th. Today they are still the basis of the Yoruba political structure. The slave trade touched heavily Yoruba people of Nigeria and he contributed to their diaspora and the release of their rites and beliefs.


The Yoruba are prolific craftsmen, most Yoruba art objects dating from between the late 19 th and the middle of this century, and can sometimes be attributed to known artists by their names, which is an exception in African art.


During the XVI, the Ijebu kingdom, ruled areas near the coast of the Atlantic Ocean. copper imported by sailors, was traded by the Portuguese Ijebu and many bronze objects were created by their artists. These objects reflect the influence of their neighbors, the Kingdom of Benin. Nevertheless, their bells and bracelets scepters are usually decorated with figures, half human, half animal with eyes bulging and curved scars on his forehead.

The empire of Oyo between the XVII and XIX was located in the northern territories or peoples

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The Luba


The Luba Empire was founded in 1585, in the depression of the Upemba by King Kongholo, his nephew and successor Llunga Kalala, enlarges rapidly until the kingdom territory on the left bank of the River Lualaba. At the height of the kingdom more than a million people live in tribes, various paid tribute to King Luba. At the end of XIX with DVANCED Ovimbudu of Angola and the raids of slave traders Islamic empire s'affiblit and collapsed when the Belgian colonists arrived.

The economy lm'empire Luba came from payment of tribute and redistribution of resources from agriculture, fishing and hunting, and mining.

Luba artists have created many objects related to the activity of the court, the prestige objects were usually decorated with female figures everywhere in Luba art. Because of the huge area covered by the empire there are wide variations in the corpus stylistic art Luba.


Masks:


Luba masks rare, are found mainly in the eastern part of the empire. One type of mask Luba, very similar to the masks of kifwebe Songye but has more rounded features. There are very few zoomorphic masks.


Statues:


Luba artists have sculpted female statues standing or kneeling Mboko called, cleverly taking a cut, and who served during the ceremonies of divination. The statues stand uncommon, and probably representing the forest spirits or ancestors are covered with a

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Image Songye people

Linguistically, the Songye form part of the Luba, world, itself part of the Bantu group. Indeed there is a century old inter relation between the Songye and Luba, and they therefore share many cultural traits. Some art forms are part of this, shared heritage, according to the oral tradition the founding chieftains of the first luba kingdom, were of songye origins, and it is the Songye who introduced the idea of social stratification to the Luba and consequently the first luba chieftains are said to be of Songye Ancestry.

 

ENVIRONMENT

The Songye used to live in a forest environment till the end of the first half of the second millennium. Slowly their habitat became more savannah-like. We can still find traces of this former forest habitat in some of the art they produce. For example the costume worn with the Kifwebe mask must be entirely made from products originating in the forest from such as bark, pelts fibers etc. Today the Songye mainly live in the savannah but pockets of forest remain in their territory.

The Songye occupy a very large area in the north of the southeastern quadrant of the republic democratic of Congo.

Due to the vastness of the songye territory, it is obvious that regional stylistic, iconic and typological, exist in the ritual art produced. Some of these are the result of cross influences with their immediate neighbors.

 

NEIGHBORS

To the North of the Songye territory, live the Sungu, Tetela, the western Kusu. In the northwest we will find a few luba chiefdoms. To the west the Luntu, Luba – kassaï Kete and Binji peoples resides; one can even find pockets of Chokwe people in the southwest of Songye territory. To the south of the Songye we find a variety of luba speacking, polities, the same is true, for eastern frontier where in addition to the eastern kusu, we find Luba, Hemba, Kunda, Lumbu and Buyu people. Judging from their

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Image mossi
The Mossi


The first Mossi empire was founded during the fifteenth, by invaders from northern Ghana, today the Mossi are the largest tribe in Burkina Faso. The number of two million, they are the only people in the region to have a centralized government, headed by former Zaksoba.

Mossi sculptors are known for their polychrome masks that are worn during festivals, and to keep the crops. These masks that fulfill a function as totem, are carefully guarded when not worn, and their libations are offered in exchange for their protection and assistance.

Three different types of masks can be identified: they seem to correspond to different indigenous peoples living in this region prior to the invasion Mossi XV. The first type is found mostly in the western part of the Mossi, and includes masks decorated with small statues, animal or stylized face. The second type is included in the semicircular masks painted in white and representing positive spirits associated with the savanna. The third type of Mossi mask, called Karanga, is found mostly in the northern part of the country. It has a stylish rounded face topped by a large plate, a totemic animal or a human statue symbolizing an important ancestor. The statues are
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Image DOGON

Dogon

Musée du Quai Branly
05th April 2011 to July 4, 2011

The exhibition features 330 stunning art pieces gathered for the first time and from collections around the world. It provides a chronological overview of the art of the Dogon eighth century to the present day, reflecting its rich diversity of styles, from first contact with Tellem to the development of European taste for the masks and sculpture in the twentieth century. The exhibition shows the impact of migration and subsequent contact with other Dogon peoples of the region's culture and art Dogon. It places a unique technical expertise conducted on the patina of statues and disclaims typologies of everyday objects and daily virtuosic and varied techniques, often presented in terms of major pieces of statuary.

primitive art
Sixteenth century seventeenth century eighteenth century nineteenth century twentieth century
Commissioners
Helene

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Image Gouro

Guro


Living among the Baule and Yaure west, the Malinke north and south wé and Bete. The Guro live in an area covered by savannah and forest. They migrated from the north during the XVI and is now number two hundred thousand, they were called but when Kweni were colonized between 1906 and 1912 the French invaders, gave them the name of Guro. Guro villages consist of round houses in the north and rectangular in the south. Each village is governed by a council of elders, representing each family, and secret societies. The Guru mainly grow cotton, rice, coffee and cocoa, men and women involved clearing plantations.

The Guro Art is an art and elegant masks consists mainly of elongated figures with a concave profile and almond eyes.


Masks:


Different types of masks can be noticed. In the western part of the country Guro masks have a pointed chin, a protruding mouth, almond-shaped eyes bulging and a high forehead sometimes decorated with scarification. They have an apotropaic function but are also worn by executioners during executions.

The southern style is influenced by that of the neighboring tribe, the Bete. Their masks are identifiable, thanks to their more naturalistic features, their scars on his forehead, triangular noses and eyes surrounded by incised scarification, they are sometimes called masks Guro-Bete

Another type of mask found in this region, has a bulging forehead, a snub nose

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dan


Image dan

Dan

In the also known under the name of Yacub, living in western Côte d'Ivoire and Liberia, in a wooded area south and covered by savannah in the north. At 350000 they live on cocoa cultivation of rice and cassava. Before that secret societies do not unite around the beginning of the century, Dan lived in autonomous villages, headed by a chief elected for its wealth and social position.

Nowadays society Leopard plays a major role in the lives of Dan: Candidates for initiation must pass a period of isolation in the forest three to four months. The dances are known for their festivals which were originally village ceremonies but who today are rather aimed at tourists during these holidays appear dancers often perched on stilts.

Masks:

Dan masks are characterized by a concave face, pointed chin a protruding mouth, high forehead and are often covered with a rich brown patina, masks of similar types exist throughout the country Dan, but some stylistic variations, can be observed. For example: the masks of the north dan often have delicate features, a high forehead smooth eye in the middle of the face and a very smooth patina obtained by immersing the mask in a mud bath. The masks of southern Dan Rather, protruding features and a grainy patina achieved by application of plant pigments.

Different types of masks exist and Dan each have a specific function.

Deangle the mask is characterized by a front line separated by a median of almond eyes, sometimes covered with kaolin, is worn

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Image baga

45000 Baga, live along the coast of Guinea Bissau in villages divided into two and four districts, themselves subdivided into 5 and 6 clans. According to tradition each village is headed by the oldest members of each clan were meeting in secret. Nowadays this system has been replaced by a mayor elected from each village.

The Baga worship a single god called Kanu assisted by a male spirit, Somtup, and a female spirit-A bowl. A spirit often represented by a snake, watch over the lower ranks of society to-Lom responsible for initiation rites.

The first sculptures Baga appeared in the West during the 50s, the impact of Islamization, and the abandonment of traditional rites and beliefs, the Western traders allowed to export the masks and headdresses Baga statues. Nowadays Baga trying to restore their culture with the help of their elders, they recreate ceremonies and celebrations that punctuated their traditional life.

Masks:

The mask is the most famous Baga Nimba called, is a mask shoulder supported by four pillars, it has large breasts, a large head with semi-circular ears, a chin and a pointy nose. He appeared at weddings, births, ceremonies related to crops and more generally in the ceremonies connected with joyful events. Two styles of Nimba masks have been identified, the first best known in the West has a concave face, whereas the second has a convex face.

The crest known as: Ziringen Wonde, was worn by dancers during ceremonies marking the end of the periods of initiation of girls,

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The Senufo

scattered between the Ivory Coast and Burkina Faso, Mali, one million five hundred thousand Senufo, live off agriculture and occasional hunting. they live in villages ruled by councils of elders, who elect a leader. cohesion of the tribe is reinforced by the Poro society initiates, and educates the Senufo men from lâge 7 years. Senufo theology based on the presence of a powerful god, Koulotiolo, and a mother goddess Katielo, which through the rites of the Poro society ruled over the world.
The Senufo art is one of the first to have been admired by Westerners, their artistic production is abundant, and their statues and masks are characterized by a mixture of realistic detail, allied to pure geometric forms. playing on the empty and full.

Masks:

the Senufo, use different types of masks, according to the occasion. mask called Kpéliyée used by members of the Poro society has a heart shaped face surrounded by fins. mask helmet représentatnt janiforme a buffalo head is used for funerals and in times of crisis. its main function is to destroy the evil spirits, his power comes from a small cup placed on top of his skull containing magical substances. sometimes for dancing sparks out of his mouth that earned him the name "fire-eater." another type of helmet mask, a buffalo head, under a pair of antelope horns, are used primarily during initiation ceremonies poro.
Senufo artists have created three types of crest, the first

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Image SENOUFO

AFRICA COLORS

exhibition from September 30 to December 6, 2010

This new exhibition offers a unique ethnic landscape through the theme of color in African art. Masks of War Dan masks Ibibio of Nigeria, Armand Auxiètre,

Gallery director "The eye and hand" presents a selection

representative works of customs or practices of these civilizations:

Pure and simple, the colors are chosen by the artists

to evoke in turn respect for ancestors, virility new initiates, death ... Gallery Eye and the Hand invite you to discover the symbolic

* Mask Anang, Language Arts Ibidio, Nigeria, XX, Wood and pigments.

According Fagg this hairstyle could mimic that of the wives of missionaries. This mask was probably made in the years 20/30 by famous sculptor Akpan Chukwu death in the early 50 or by one of his disciples.

Some features like the nose rounded chin bulging contours clearly defined eyes and lips that speak for attribution. Mask probably the same time and same sculptor is the Musée Barbier Muller.

Opening Thursday, September 30, 2010, from 6:30 p.m.

Art Gallery of eye and hand

41 rue de Verneuil

75007 Paris

contact@agalom.com

www.african-paris.com

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Image Africa colors

AFRICA COLORS

exhibition from September 30 to December 6, 2010

This new exhibition offers a unique ethnic landscape through the theme of color in African art. Masks of War Dan masks Ibibio of Nigeria, Armand Auxiètre,

Gallery director "The eye and hand" presents a selection

representative works of customs or practices of these civilizations:

Pure and simple, the colors are chosen by the artists

to evoke in turn respect for ancestors, virility new initiates, death ... Gallery Eye and the Hand invite you to discover the symbolic

* Mask Anang, Language Arts Ibidio, Nigeria, XX, Wood and pigments.

According Fagg this hairstyle could mimic that of the wives of missionaries. This mask was probably made in the years 20/30 by famous sculptor Akpan Chukwu death in the early 50 or by one of his disciples.

Some features like the nose rounded chin bulging contours clearly defined eyes and lips that speak for attribution. Mask probably the same time and same sculptor is the Musée Barbier Muller.

Opening Thursday, September 30, 2010, from 6:30 p.m.

Art Gallery of eye and hand

41 rue de Verneuil

75007 Paris

contact@agalom.com

www.african-paris.com

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Image yaka

Arts of Africa first Black Arts Spring 1981 No. 77
When we examine the significance of an African mask, we do not seek to know what the "message" it provides, by virtue of some essential notion of disguise and by his presence, but rather what kind of continuum it belongs. The masks are at the confluence of pictorial traditions, oral and functional none appears (under secular unable to recognize the subjects and even less discernible. The understanding of pictorial code used requires not only a review but a review of developed components as needed through the original context. Let us offer an example of the image with respect to the buffalo in the region of Zaire Kwango-Kwilu South West (1).
Synceros caffer, the largest of African cattle is a massive animal, black, cropped hair, measuring 1.50 m at the shoulder and weighing nearly a ton (900 kg.) (Fig. 1). Its heavy horns have a spacing of one meter, are curved downward and inward and form large lumps to their bases. This animal, originally occupied the central, eastern and southern Africa, frequenting the open plains, open woods and river beds and marshes bordered by reeds. Commonly preview herds of a dozen to a hundred heads, he used to graze and graze the early morning and again at dusk, seeking shade during the hottest hours but sometimes moving at night . Females do not carry a calf for about eleven months.

Considered peaceful, was injured when he can become, for hunters, the most dangerous animal of any big game on the continent (Fig. 2). He is known for his

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Image Pavillon du Cameroun
L’essentiel

Le pavillon a pour élément central de conception un arbre géant; le vert, le jaune et le bleu donnent le ton aux espaces ouverts du pavillon pour montrer le naturel, l’optimisme et le dynamisme de la nation. Les espaces d’exposition créent une ambiance de l’union harmonieuse ciel-terrehomme et montrent l’aménagement de la cité et le nouvel aspect du développement de l’habitat civil afin de développer le thème «Le remodelage de la communauté urbaine».

A ne pas manquer 1

Un arbre luxuriant couvre tout le pavillon, suggérant que le Cameroun accorde plus d’éléments modernes et de romantisme à la communauté traditionnelle et reflétant la protection efficace des forêts du pays.

A ne pas manquer 2

Le terrain de football simulé du pavillon permet aux visiteurs de découvrir la vie agréable urbaine et la passion pour le football du peuple.

Pavillon de Cameroun

La République du Cameroun se trouve sur le carrefour de l’Afrique centrale et occidentale. Le pays est connu pour ses caracteristiques topographiques et ses cultures très variées.

Depuis Canadien World Exhibition - Expo'67, le Cameroun a également participé à l’Exposition Universelle de Gênes 1992, Universal Exhibition Hannover 2000 et International Exhibition 2005, Aichi, Japon.

Pavillon de Cameroun

Thème: Remoulage des Communautés Urbaines

(Remodeling of Communities in the City)

Le pavillon suscite une réflexion camerounaise face à la reconstruction et l’aménagement rationnel de la ville ainsi que son attention et sa décision mise en oeuvre à la construction urbaine au
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Image Pavillon du Burundi
l’essentiel

Le pavillon expose les réalisations du Burundi dans sa pratique d u développement durable ainsi que les expériences du succès de la capitale Bujumbura et des campagnes sur les plans du développement et du partage des gains, Composé de quatre espaces fonctionnels, le pavillon présente les produits représentatifs du pays et ses produits d’artisanat, et propose des spectacles exotiques et la dégustation du café et des gâteaux.
L'expo en ligne
Caractéristiques du pavillon
A ne pas manquer 1

Les acteurs du Burundi vont offrir un spectacle de danse typique du pays.
A ne pas manquer

Les visiteurs aurons l’occasion de déguster le café et le thé du pays ainsi que les gâteaux venus du lac Tanganyika de l’Afrique.
isite du pavillon du Burundi

La république d'Afrique de l'Est a célébré le 3 juillet la journée de son pavillon. Le ministre des Affaires étrangères du Burundi, Augustin Nsanze, et Hua Junduo, le commissaire général chinois pour l'Exposition universelle 2010, ont assisté à la cérémonie qui s'est tenue dans le Centre culturel de l'Expo.

M. Nsanze a fait l'éloge du travail accompli par les organisateurs de l'Expo. Il a expliqué que le Burundi a amené ses produits traditionnels de pêche et d'élevage, sa médecine, ses biens industriels et son artisanat à Shanghai, afin d'attirer les investissements des entreprises chinoises.

M. Hua a déclaré que les dons de la nature et l'artisanat populaire du Burundi illustrent le thème du pavillon, « Coexistence et interaction entre l'homme et la nature ». Il a souligné que le Burundi partagera ses succès dans le
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Image Pavillon du Bénin
L’essentiel

Le pavillon ressemble à la foi au Palais royal d’Abomey et au château tradtionnel TATA. Il introduit le bateau de pêche comme élément de conception et adopte des objets d’artisanat locaux et des oeuvres d’art pour expliquer l’urbanisation des campagnes du Bénin de notre époque. L’intérieur du pavillon est divisé en espace central d’exposition et espace complémentaire.
A ne pas manquer 1

L’espace central fait voir les paysages culturels, les maisons traditionnelles, les oeuvres d’art et les objets d’artisanat du Bénin y compris des reliefs en bronze, des sculptures sur bois et sur ivoire.
A ne pas manquer 2

L’espace complémentaire dévoile la situation actuelle des campagnes et des villes du Bénin et fait savoir les réflexions sur «Interaction entre villes et campagnes».
Pavillon de Bénin

Située au sud de l’Afrique centrale, la République du Bénin dispose d’une pêche particulièrement développée. De forme étirée, le relief de l'ensemble du pays est peu accidenté.

Depuis 1967, le Bénin a participé à Universal Exhibition Hannover 2000 et Exposition Internationale de 2005, Aichi, Japon.

Numéro de section : L-14

Thème : Insertion des Terroirs Villageois en Ville comme

Moteur de Développement Durable

Des réflexions menées autour du sous thème de l’Expo 2010 «Interaction entre la Ville et la Campagne » président le pavillon, qui incarne la voie et la notion du développement intégral de la ville en concertation avec l’insertion des terroirs villageois.

Points
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