一些關於布魯塞爾非歐洲文化古董商協會 (BRUNEAF) 的歷史 聯合為數不多的比利時 原始 藝術古董商把首都布魯塞爾 安布林 ( Ambre ) 畫廊的開幕式和在著名的 薩布隆廣場 周圍首次為公眾展示 非歐洲藝術開放日 的理念於 1983 年問世 這一理念得以實施並大獲成功 在過去幾十年, 這個項

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1 BRUNEAF BRUssels Non European Art Fair 國際古玩展 International Antiques Fair 香港會議展覽中心 5 樓 B 與 C 展廳 Convention and Exhibition Centre Hall 5BC 貴賓開幕預展展覽日期 VIP Opening Preview Exhibition 二零一四年五月二十三日 下午六時至九時二零一四年五月二十四日至二十六曰 上午十一時至下午七時 23 rd May pm 9 pm 24 th 26 th May am 7 pm

2 一些關於布魯塞爾非歐洲文化古董商協會 (BRUNEAF) 的歷史 聯合為數不多的比利時 原始 藝術古董商把首都布魯塞爾 安布林 ( Ambre ) 畫廊的開幕式和在著名的 薩布隆廣場 周圍首次為公眾展示 非歐洲藝術開放日 的理念於 1983 年問世 這一理念得以實施並大獲成功 在過去幾十年, 這個項目穩固地建立起來, 並吸引了越來越多來自比利時和國外的畫廊 1988 年, 第一本詳細記錄這個不斷壯大的 部落 古董商論壇的手冊誕生 ; 三年之後, 第一本厚重而精美的圖錄出版 這個暫時的部落古董商團體成功地傳達一個共同的目標 : 推動非凡的部落藝術, 因為他們是這些部落藝術的大使 從 1996 年開始, 布魯塞爾的古董商邀請國外的同行參加博覽會 今天, 有來自法國 義大利 西班牙 德國 英國 荷蘭和美國的畫廊都參加了展覽為布魯塞爾古董商協會提升國際化 布魯塞爾古董商協會已經成為展示非歐洲藝術的重要活動, 展品包括來自非洲 大洋洲 印尼 前哥倫布時期 愛斯基摩人 亞洲和澳大利亞土著的藝術 雕塑 面具 兵器 珠寶 硬幣 紡織品 陶器, 這些展出的藝術品都是少數民族根據他們特有的習俗製作出來的, 製作的材料包括木頭 金屬 黃金 銀 銅 象牙或赤土等 這些展品都是儀式上或家庭中的手工製品, 造型上均有裝飾性設計 儘管這些藝術品的外形都包合著實際的原素, 同時證明瞭世界的某種視覺 來自非洲 印度或西藏的藝術品吸收了豐富的神話, 這些藝術品形成集體記憶, 尊重傳統的美學和象徵標準, 並繼承他們祖先使用過的工藝 2007 年以後, 布魯塞爾古董商協會希望提升非歐洲文化, 並舉行了一些主題展覽 :2007 年 Mestach l Africain,2009 年 Congo Mythical Masks,2011 年 Sanza,2012 年 La tête dans les étoiles: Appuis nuques d Afrique et d ailleurs,2013 年 Lega Gems in ivory, bone and wood from the Benoît Rousseau collection 2014 年 6 月布魯塞爾古董商協會與中非皇家博物館合作 2014 年 6 月 4 日至 15 日, 我們非常自豪地獻上名為 傑作, 新幾內亞的藝術 的重要展覽, 這個展覽的展品都是來自比利時特弗倫中部非洲皇家博物館 A bit of BRUNEAF s history The idea of uniting a handful of Belgian primitive art and antique dealers to tie in with the inauguration of the Brussels Ambre gallery and offer the public the first Non European Art Open Days around the famous Sablon Square saw the light of day in The idea took off and became a resounding success the project became firmly established, attracting, over the years, more and more galleries both from Belgium and abroad. In 1988, the first modest brochure appeared with details of this constantly expanding forum of Tribal antique dealers and three years later the first thick glossy catalogue was published, marking the success of this momentary fellowship of Tribal antique dealers with one objective in common: to promote the exceptional wealth of Tribal art, of which they are the ambassadors. From 1996 onwards, Brussels antique dealers invited colleagues from abroad to the event. Today, the participation of galleries from France, Italy, Spain, Germany, the United Kingdom, the Netherlands and the USA gives Bruneaf a decidedly international touch. The Brussels Non European Art Fair (BRUNEAF) has become the leading event displaying non-european art, covering fields as diverse as African, Oceanic, Indonesian, pre-columbian, Eskimo, Asiatic and Australian Aboriginal art. Sculptures, masks, weaponry, jewellery, coins, fabrics, pottery traditional objects executed by ethnic groups according to their own particular customs and worked in wood, metal, gold, silver, bronze, ivory or terra cotta - the objects on exhibit are ritual or domestic artefacts, combining shape with ornamental design. Although the form always meets practical requirements, it is also testimony of a certain vision of the world. Objets d art from Africa, India or Tibet thus draw on the wealth of myths that form the collective memory, respecting the aesthetic and symbolic standards of tradition and following in the footsteps of the traditional crafts used by their ancestors. 2

3 同時, 布魯塞爾古董商協會將在展覽期間組織一系列重要的講座 : 保護太平洋島國的遺產 : 動盪時期博物館藏品的重要性, 主講 : 克裡斯平. 豪沃思先生 (Mr. Crispin Howarth), 坎培拉澳大利亞國立美術館 ; 伊莉莎白. 寇裡 - 皮爾肯斯女士 (Ms Elizabeth Cory-Pearconce), 英國劍橋大學 ; 葆琳. 范德詩夫人 (Mrs Pauline Vanderzee), 比利時根特大學 ; 沃努. 維斯女士 (Ms Wonu Veys), 荷蘭萊頓國立民族志博物館 皮國裡尼博物館館藏中西非的馬和騎兵, 主講 : 埃吉迪奧. 科薩先生 (Mr Egidio Cossa), 義大利羅馬皮國裡尼博物館非洲藏館館長 瞭解薩拉姆巴蘇面具, 主講 : 盧林. 沃皮爾先生 (Mr. Julien Volper), 比利時特弗倫中部非洲皇家博物館文化人쏾學和民族學部 在新幾內亞的中心 : 賽皮克 (Sepik) 的藝術, 主講 : 菲力浦. 佩爾蒂埃先生 (Mr. Philippe Peltier), 首席館長, 法國巴黎布朗利河岸博物館 主席迪迪爾. 克拉斯布魯塞爾古董商協會 Since 2007, Bruneaf wishing to promote non-european cultures, has been organising thematic exhibitions: Mestach l Africain, in 2007, Congo Mythical Masks in 2009, Sanza in 2011, La tête dans les étoiles: Appuis nuques d Afrique et d ailleurs in 2012 and Lega Gems in ivory, bone and wood from the Benoît Rousseau collection in For the June 2014 BRUNEAF events, in collaboration with the Royal Museum of Central Africa, we are proud to present an important exhibition focused on «Masterpieces, Art of New Guinea» from the collections of the Royal Museum of Central Africa in Tervuren Belgium, between June 4th and 15th. In the same perspective, Bruneaf will organize, during the show, a program of important lectures: Securing Pacific Island Heritage: The Importance of Museum Collections in Turbulent Times, by Mr. Crispin Howarth from National Gallery of Australia of Canberra, Ms. Elizabeth Cory-Pearconce from Cambridge University, England, Mrs Pauline Vanderzee from University of Ghent and Ms. Wonu Veys from the Musée National d Ethnographie of Leiden, the Netherlands. Horses and horsemen from West Africa in the Pigorini s Museum collections, by Mr Egidio Cossa, Curator of the Pigorini s Museum African collections in Rome, Italy. Understanding Salampasu masks, by Mr. Julien Volper, section of Cultural Anthropology and Ethnography of the Royal Museum of Central Africa in Tervuren, Belgium. In the heart of New Guinea: Art of the Sepik, by Mr Philippe Peltier, Chief Curator, responsible for the Patrimonial Unit of Oceania and Insulind at the Quai Branly Museum in Paris, France. Didier Claes President BRUNEAF 4

4 什麼是部落藝術? 直至十九世紀六十年代, 原始藝術 一詞指的是世界各地無文字的文化群體所創造的 用於儀式上的藝術 這一術語現在已經不用了 有一段時間, 人們更喜歡用 最早的藝術 (first art) 一詞, 但這一術語同樣也是完 ꗾ 錯誤的, 因為我們感興趣的藝術쏾型既不是 原始的, 也不是 最早的 相反, 它是一種有造詣的藝術形式, 在二十世紀大規模的歐洲殖民地到來之前達到了它的頂峰, 而之後, 開始衰落 因此, 經典的部落儀式藝術 一詞能夠非常恰當地運用來表達這個意思, 不過為了簡單化, 現在很多人接受了 部落藝術 這一術語, 因為創造這些藝術品的族群屬於被稱為 部落 的小的文化實體 因此, 為了我們的目的, 我將使用 部落藝術 一詞 部落藝術在五大洲均有發現, 因此, 學者 商人和收藏家常常專門收藏和研究來自北美洲 ( 因紐特人 愛斯基摩人 美國印第安人 ) 中南美洲 ( 前哥倫布時期 加勒比海 亞馬遜人 ) 亞洲 ( 中國人 ( 臺灣 ) 印尼人 菲律賓人 阿依努人 娜迦人 ) 歐洲 ( 維京人 格陵蘭人 西伯利亞人 ) 大洋洲 ( 新幾內亞 波利尼西亞 ) 澳大利亞 ( 土著居民 ), 以及最後但同等重要的撒哈拉以南非洲的儀式藝術 因此, 在十九世紀三十年代以前的所有部落藝術都被稱為 內格羅藝術 (Negro art) 部落藝術雖然存在, 並且多半在美學上令人愉悅, 但它基本上並非 為藝術而藝術 被製作出來, 或者因為是漂亮而變得有意義 事實上, 部落藝術在宗教 社會或政治的脈絡中被作為工具使用 部落藝術主要是以擬人化的雕像構成 ; 這些雕像由木頭 赤土 象牙 金屬和石頭等材料製成 這些雕像被用以和祖先及神靈的世界溝通, 以改變某些事件 部落藝術的另一種共同的形式是面具 這些面具在儀式中主要用來代表各種各樣的神靈 另一方面, 我們還有許多象徵著階層和頭銜的精美的雕刻, 這些象徵被那些在文化或政治實體中掌權的人使用 因為這些象徵是為精英製作, 因此使用的材料往往都是極為罕有的, 並且由最優秀的藝術家和工匠來製作 絕大部分的部落藝術品都是在村子裡發現的, 也有一些在地下發現, 因此被認為是地下文物 這其中的許多藝術品都有超過兩千多年的歷史, 例如來自尼日利亞 諾克 (Nok) 文化的陶土雕像 新宗教 ( 伊斯蘭教 基럾教和佛教等 ) 在殖民地時期被傳入, 在這個過程, 大量的部落藝術品被破壞或拋棄 因此, 部落藝術已經成為一種稀有的貴重的商品 大部分的部落物品現今被收藏在世界各 What is Tribal Art? Until the 1960 s, the term primitive art was used to designate art made for rituals by non-literate cultural entities from around the world. This term is no longer used. For a while art premier (first art) was preferred but this term is also absolutely wrong because the type of art we are interested in is neither primitive nor first but on the contrary is an accomplished art form whose qualitative summit was reached prior to the 20th century before massive European colonization started its decline. The term classic tribal ritual art could therefore very well apply, but so as to simplify matters nowadays many accept the term tribal art because the corpus consists of works of art made by people belonging to small cultural entities that are often known as tribes and I will thus use the term tribal art for our purpose. Tribal art is to be found in all five continents, therefore scholars, dealers and collectors tend to specialize themselves in gathering and studying tribal art coming from either North America (Inuit, Eskimo, American Indian) Central and South America (Pre-Columbian, Caribbean, Amazonian) Asia (Chinese (Taiwan) Indonesian, Filipino, Ainou, Naga) Europe (Viking, Greenland, Siberian) Oceania (New Guinea, Polynesia) Australia (Aborigines) and last but not least ritual art from sub- Saharan Africa. Therefore until the 1930 s all tribal art was called Art Nègre (Negro art). Tribal art, even though being, more often than not, aesthetically pleasing, was basically not made as art for art s sake or to be beautiful, it had, before anything, to be efficient. In fact, tribal art was used as a tool in religious, social or political context. Tribal art consists mainly of carved anthropomorphic figures; these are made out of wood, terracotta, ivory, metal, stone etc. These figures are used so to intercede on behalf of the community with the world of ancestors and spirits so as to alter events. Another common form of tribal art is masks. These are mainly used to represent various spirit manifestations during ceremonies. On the other hand we also have a number of beautifully carved emblems of rank and title that are used by those in power within cultural or political entities. Because these emblems are made for the elite, the materials used are more often than not prestigious and the best available artists and craftsmen made them. The vast majority of tribal Art objects were found in villages, but some were found underground and are thus considered as being archaeological. A number of these are more than two thousand years 6

5 地重要的博物館 ( 主要在西方 ), 例如紐約大都會博物館 大英博物館 柏林博物館 巴黎盧浮宮和布朗利河岸博物館等 今天, 不少新興的國家正在修建新的博物館, 他們想要收藏部落藝術品, 激烈的競爭也抬高了部落藝術品的價格 受過良好教育 喜愛收藏的富人都收藏部落藝術, 他們當中有一些是名人, 例如畢卡索 馬蒂斯 洛克菲勒 弗朗索瓦. 皮諾特 希拉克總統 阿迦汗 謝赫. 沙特. 阿勒薩尼, 大衛. 阿滕伯勒爵士等等 部落藝術故此從不便宜, 並且會變得越來越值錢 過去十年間, 部落藝術的價格急劇上升, 並仍在上升中 如果一個人考察部落藝術在大拍賣行 ( 索斯比拍賣行, 克利斯蒂拍賣行等 ) 的拍賣結果, 就會發現某些藝術品現在經常賣到幾十萬甚至上百萬美元 究其原因, 是因為世界上幾乎沒有部落社會存在了, 因此, 基本上也不再製作部落藝術了 大多數的部落藝術品都是在 1960 年代以前製作的 和其它的藝術形式相似, 高品質的藝術品非常罕見, 因此對它們的需求大於供給 使用時間久遠的物品通常比新近的更有鑒賞價值, 因為製作這些物品的社會還沒有和西方世界接觸, 他們創作的藝術還沒有被污染 那些年代久遠的用於儀式中的物品最受歡迎 如果一件曾經被著名的收藏家或機構收藏過的物品, 那麼它的價值會因此更加提升 因為物品要滿足的是人 ; 然而, 收藏主要動力是這件作品能否滿足收藏者的需求, 這一點只有收藏者才能作出這個決定 因此, 在它們消逝之前, 好好把握這個機會, 細心欣賞這些美麗的藝術品 副主席馬克. 李奧. 菲力克斯布魯塞爾古董商協會 old such as the terra cotta figures coming from the Nigerian Nok culture. During colonial times new religions (Islam, Christianity, Buddhism etc.) were introduced, in the process a great number of tribal art objects were destroyed or abandoned. Therefore tribal art has become a rare and valuable commodity. The majority of tribal objects are nowadays to be found in major museums worldwide (mainly in the west) such as the Metropolitan museum in New York, the British museum, the Berlin museum, the Louvre and Quai Branly in Paris etc. Today new museums are being built in the emerging nations, these would like to acquire tribal art objects hence the competition is fierce which drives up the prices. Educated, eclectic and wealthy individuals some of whom are famous such as Picasso, Matisse, Rockefeller, Francois Pinault, President Chirac, the Aga Khan, Sheik Saud Al Thani, Sir David Attenborough etc., also collect tribal art. Tribal art was therefore never cheap and has become more and more valuable. During the last ten years, the value of tribal art has increased dramatically and it is still on the rise. When one examines the Tribal art sale results of the big auction houses (Sotheby s, Christie s etc.), one will find that nowadays certain objects are regularly sold in hundreds of thousands and even millions of US dollars. The reason for this is that almost no tribal societies are left in the world and therefore tribal art is basically no longer made. The majority of tribal art objects were made before the 1960 s. In a fashion similar to other art forms high quality objects are very rare and thus demand for these is bigger than the supply. As usual objects having been used a long time ago tend to be more appreciated than younger ones because the societies who made them had no contact with the Western world and the art they produced was not polluted. Those that were used for a long time in a ritual context are the most preferred. If a famous collector or institution previously owned the object, the price will increase even more. The main aspect of desirability nevertheless remains that the object moves you and this is something only you can determine because you are the one it has to satisfy. As time goes by, less and less tribal art will be available. It is therefore high time to take a good look at these beautiful objects today before they are no longer obtainable. Marc Leo FELIX Vice President BRUNEAF 8

6 非常高興有著三十年歷史比利時布魯塞爾非歐洲文化古董商協會 (BRUSSELS NON EUROPEAN ART FAIR) 首次來到亞洲展出世界各地部落文化的藝術精品 作為一名非洲部落藝術的愛好者和收藏家, 對於這次 BRUNEAF 能來香港參展, 我感到非常興奮和雀躍 不論是在香港還是中國大陸, 部落的文化和藝術一直都沒有受到重視 儘管部落文化和藝術不屬於 主流 文化, 但它在視覺藝術領域有著重要地位, 在學術界也不容忽視 在歐洲和美國, 著名的博物館和大學都有專門的研究員 學者和部落藝術的收藏, 他們重視部落文化從藝術 人쏾學 社會學和歷史學的價值方面的研究 近年來, 中國大陸的一些高校成立了非洲研究院, 博物館也不斷地展出非洲藝術品 在過去的五十多年裡, 蘇富比 佳士得和其它歐美的主要拍賣行每一季都會出版關於非洲 大洋洲和美洲的部落藝術的大型圖錄 過去幾十年裡, 部落 藝術精品的價格常常超過一百萬美元 一些特殊而又古老的非洲儀式藝術品的售價甚至超過五百萬美元 部落藝術以其創造性 多樣性和豐富的想像力 堅固的造型以及美學上的精緻, 加上情感和靈性的表達或政治的內涵, 令像畢卡索和馬蒂斯這樣的藝術家以及藝術愛好者們如癡如醉 隨著 ꗾ 球化的發展, 我們有責任保護和保存這些正在消失的部落和邊緣的物質文化 它們應該被記錄和收藏, 以供我們的後代學習 它們將會給新一代的藝術家和藝術愛好者帶來養分, 並幫助他們瞭解陌生世界的豐富多樣性 現在, 不論是中國還是西方發達國家, 很多人仍然對非洲或其它部落文化懷有偏見 其原因除了大多數人不瞭解部落文化外, 更重要的是因為商業活動已經成為社會和文化發展的主要推動力, 而傳統的文化價值觀和信仰正逐漸被大多數人忽略 很多藝術收藏家和愛好者都追隨市場潮流 在過去數十年裡, 大多數大型的畫廊和拍賣行也都追求利益的最大化而只交易流行的 主流 藝術品 例如, 香港的中國古董拍賣市場關注明清時代的文物, 而先秦時期的文物卻難得一見 結果是我們可用於教育和展示文化多樣性的選擇越來越少 人쏾世界沒有所謂野蠻與文明, 文化是要包容, 文明需要人道, 不要盲目崇洋 我希望我們對部落文化能有一個寬容的 開放的態度 不論種族 宗教和膚色, 我們都應該尊重並欣賞他們獨特的文 As an enthusiast and collector of ritual African art for more than ten years, I am very excited and glad that the prestigious BRUNEAF (BRUSSELS NON EUROPEAN ART FAIR), the first tribal arts fair with a 30 years history of success, visits Asia for the first time with highquality works of tribal art from around the world. No matter if in or in Mainland China, tribal culture and art have not as yet been taken seriously. It may not belong to the "mainstream" culture, even so, it s important status in the field of visual art and academia should not be ignored. In the whole of Europe and in the United States, major museums and universities have special researchers, scholars and collections of tribal art with focus on its artistic, anthropological, social and historical value. Recently in Mainland China universities have started "African Studies" departments and museums regularly show African artifacts. Since more than fifty years Sotheby s, Christie s and other major auctions houses in Europe and the United States publish, each season, large catalogues of African, Oceanic and American Tribal Art. In the last decades prices have often exceeded one million US dollars for choice "Tribal" art. Some special old African ritual artifacts were sold in excess of five million US Dollars. Tribal arts always fascinated art lovers and artists like Picasso and Matisse with their richness, creativity, and diversity, full of imagination, rugged styling and the great aesthetic refinement of the tribal cultures with emotional and spiritual expression or political content. With the development of globalization, we have a responsibility to protect and preserve the material culture of vanishing tribal and marginal cultures. They should be recorded and collected for the next generation to learn from. They will bring nutrients to the new generation of artists and art lovers and help them illustrate the richness of the unfamiliar part of the world. Nowadays, whether in China or in developed Western societies, many people still have a prejudiced viewpoint towards Africa and other tribal cultures. In addition to the reason that most people do not understand tribal culture, more importantly, it is because commercial activity has become the main driving force of social and cultural development, that traditional cultural values and beliefs are gradually being ignored by most people. Many art collectors 10

7 化創造 我想利用這一機會, 向我的啟蒙老師馬克. 李奧. 菲力克斯, 表達我誠摯的謝意 是他為我打開了一扇無與倫比的非洲藝術之門, 並指導我學習對美的欣賞 像所有偉大的藝術一樣, 儀式物品應當不言而喻, 這些藝術品始終有一個共同點, 沒有妥協 最後, 我要感謝所有部落藝術收藏家和畫廊對我的信任及支持 盧重晉民族藝術文化有限公司 and enthusiasts tend to follow market trends. In the past decade s most large galleries and auction houses also maximize their interest and transact only the popular mainstream arts. For example, the auction market of Chinese antiques in concentrates on the Ming and Qing s relics; rarely do they offer cultural relics of ancient Chinese art. This results in fewer and fewer choices being available for an educated and eclectic public. In my view, civilization and barbaric distinction does not exist in this world. Therefore I hope that we hold a tolerant and open attitude towards Tribal art. Regardless of race, religion and skin color, we should respect and appreciate the uniqueness of cultural creation. We should not follow the prescribed western trend blindly. I would like to use this opportunity to express my gratitude to my mentor, Marc Leo Felix, for opening my eyes to the wonderful world of African art to learn about aesthetic appreciation and pursuit of perfection. Like all great art, the ritual object is supposed to speak for itself and there is always one thing these artifacts have in common, no compromise. At last, I have to thank all the collectors and dealers in this field who honored me with their generous trust and continues support. Henry C. C. Lu Ethnic Art & Culture Ltd 12

8 AMBRE CONGO Pierre Loos & Thomas Bayet 17 and 2B Impasse Saint-Jacques 1000 Brussels Belgium Tel & fax : Mobile : ambrecongo@bruneaf.com 雙性酋長椅子 - 十九世紀末 Songye 族剛果 ( 金 ) 曾刊登於布魯塞爾 BEAULIEUX D. 比利時非洲藝術收集 一書,2000 年 Kifwebe Janus stool, Songye, D.R. Congo Wood and pigments End 19 th Century H : 35 cm x L : 41 cm Published in BEAULIEUX D., Belgium Collects African Art, Brussels, Photo Paul Louis, Brussels

9 BERZ GALLERY Andrew J. Berz 1001 Bridgeway, Suite C1 Sausalito, CA USA Mobile : andrew@berzgallery.com 動物造型占卜工具 Kuba 族剛果 ( 金 ) Divination Friction Oracle Itombwa Kuba Tribe, D.R. Congo Wood, pigment, encrustation L : 39 cm 16 Photo A. J. Berz

10 Roger BOURAHIMOU Tribal Art By appointment 1000 Brussels Belgium Mobile : rogermachaka@yahoo.fr 酋長斧頭 Luba 族剛果 ( 金 ) 古瑞典珍藏品 Luba axe, D.R. Congo Wood, metal Dim : 30 x 25 cm Old Swedish collection 18 Photo Studio Philippe de Formanoir - Paso Doble

11 didier CLAES Antiquities - Classical African Art 7 Rue Van Moer 1000 Brussels Belgium Tel & fax : Mobile : afriquepremier@yahoo.fr 舞蹈儀式面具 Punu 或 Lumbu 族加蓬南部 收藏者 : 阿爾曼珍藏, 紐約 曾刊登於 萊斯面具與加蓬 一書, 藝術部落, 皮落 裡和杜飛版,2005 年, 法國 Punu/Lumbu Ikwara dance mask Equatorial Africa, Southern Gabon Wood, black, white, and red-ochre pigments H : 26 cm Provenance : Arman collection, New York Publications : Perrois L. & Grand-Dufay C., 2005, Les masques blancs du Sud-Gabon, in Art tribal, Paris, n 9 (variante D, p. 101, drawing) 20 Photo Studio Philippe de Formanoir - Paso Doble

12 CONGO GALLERY Joëlle Fiess & Felix 2 Impasse Saint-Jacques 1000 Brussels Belgium Tel : congogallery@skynet.be 權杖木雕 - 十九世紀末 Songye 族剛果 ( 金 ) 收藏者 : 曾屬穆勒珍藏 Power figure Songye, D.R. Congo Wood, raffia, glass beads, horn and metal Dim : 75 cm Provenance : Ex collection Muller 22 Photo Dick Beaulieux

13 GALERIE FLAK 8 Rue des Beaux-Arts Paris France Tel : Fax : Mobile : contact@galerieflak.com 肖像面具 - 二十世紀初 Baule 族象牙海岸 曾是艾默生和迪 烏夫亞珍藏, 洛杉磯 Portrait mask Baule, Ivory Coast Wood Early 20 th Century H : 40 cm Ex collection Emerson & Dina Woelffer, Los Angeles 24 Photo Hughes Dubois

14 Olivier LARROQUE 1 Rue de Bernis Nîmes France Mobile : o.larroque@infonie.fr 占卜盤 - 十九世紀末 Owo 部落,Yoruba 族尼日利亞 Divination tray Owo, Yoruba, Nigeria Wood - End of 19 th Century / Early 20 th Century Diam : 49 cm 26 Photo David Huguenin

15 Patrick & Ondine MESTDAGH 29 Rue des Minimes 1000 Brussels Belgium Tel & fax : Mobile : patrick.mestdagh@marine.be 彩繪臂盾 - 十九世紀 Kikuyu 族肯尼亞 收藏者 : 威廉 穆爾, 洛杉磯,1960 Ndome, Kikuyu shield, Kenya Painted wood - 19 th Century H : 64.2 cm Provenance : William Moore, Los Angeles, ca 1960 inv. n 4665/P Photo Paul Louis, Brussels

16 Galería Guilhem MONTAGUT Boulevard de los Anticuarios Paseo de Gracia 55-57, tiendas 11 y Barcelona Spain Tel & fax : Mobile : guilhem@galeriamontagut.com 聖灰盒鎮南 Kota 族加蓬 收藏者 : 雅克裡 普希茨, 紐約,1951 年亞倫 弗曼畫廊, 紐約,1952 年艾倫 艾弗堂先生及夫人, 紐約阿蘭 史葛夫, 巴黎佩斯原始畫廊, 紐約 Reliquary figure South Kota area, Gabon Wood, copper and brass plaques H : 28 cm Provenance : Jacques Lipchitz, New York, 1951 Aaron Furman Gallery, New York, 1952 Collection Mr and Mrs Allen Alperton, New York Collection Alain Schoffel, Paris Pace Primitive, Pace inv. # , New York 30 Photo Carlos Insenser, Barcelone

17 Sanne NIES «Salon» / Tribal Art 43 Prins Hendrikstraat 5611 HJ Eindhoven Netherlands Tel : Mobile : info@salonsalon.nl 雕像 Kusu 族剛果 ( 金 ) 曾收藏者 : 西門艾斯收藏, 杜塞爾多夫, 德國瑪麗亞 韋斯收藏, 巴塞爾, 瑞士呂西安 範德維德, 安特衛普, 比利時 Kusu statue, D.R. Congo Wood - H : 32 cm Ex collection Simonis, Düsseldorf, Germany Ex collection Maria Wyss, Basel, Switzerland Ex collection Lucien van de Velde, Antwerpen, Belgium 32 Photo Salon Sanne Nies

18 PASCASSIO MANFREDI 11 Rue Visconti Paris France Tel : Mobiles : pascassiomanfredi@orange.fr 人像雕塑 Hapao 族菲律賓 曾是阿蘭 史葛夫的珍藏 Bulloul, Hapao, Philippines H : 75 cm Ex Alain Schoffel collection 34 Photo Frank Verdier

19 Joaquin PECCI Tribal Art 38 Rue des Minimes 1000 Brussels Belgium Tel & fax : Mobile : joaquin.pecci@skynet.be 人像雕塑 Guro 族象牙海岸 曾刊登於 Storia Universale dell Arte 藝術通史, 法布裡版,1966 年 曾展覽於達姆施塔特美術館, 達姆施塔特,1967 年 Guro sculpture, Ivory Coast Wood and old pigments H : 50 cm Published in Storia Universale dell Arte, 1966, Fabbri Ed., p. 43, ill. 25. Exhibited in Plastik aus Schwarz Afrika, 1967, Darmstadt, catalogue Photo Studio Asselberghs - Frédéric Dehaen

20 Lucas RATTON 33 Rue de Seine Paris France Tel : Mobile : primitivart@gmail.com 木梳子 - 二十世紀初 Fanti 族迦納 曾收藏者 : 阿德里亞諾, 義大利 曾 ꗾ 版刊登於凱倫 布利辛 走出非洲 一書, 1966 年, 阿德里亞諾 Fanti Comb, Ghana Wood Early 20 th Century H : 32 cm Provenance : Ex collection Olivetti, Italy Full page published : Karen Blixen, «La mia Africa», Olivetti, p Photo Hughes Dubois

21 Adrian SCHLAG Tribal Art Classics 31 Rue des Minimes 1000 Brussels Belgium Mobile : adrian@schlag.net 面具瑞木河流域巴布亞新磯內亞 曾是約翰與瑪西婭 弗裡德的珍藏, 紐約 Sepik mask, Ramu river region, Papua New Guinea Wood H : 22 cm Ex collection John and Marcia Friede, New York 40 Photo Studio Asselberghs Frédéric Dehaen

22 David SERRA Tribal Art 2 Avda. San Juan Sant Cugat del Valles, Barcelona Spain Tel & fax : Mobile : galeria@davidserra.es 雕塑 - 十九世紀 Bamana 族馬利共和國 收藏者 : 古珍藏糸列, 美國阿蘭 蒙巴厘臣, 巴黎阿羅達 德克森珍藏糸列, 巴塞隆納 曾刊登於 - 紐約蘇富比展覽目錄,1978 年 5 月號 - 非洲,< 非洲. 想像圖展覽, 卡斯蒂利亞基金會, 西班牙 - 巴黎, 大衛. 塞拉畫廊 <Parcours des Mondes 2013 展覽 Formes Rituelles 展覽目錄, 部落藝術, 西班牙 Sculpture nyeleni, Bamana, Mali Wood, cotton - 19 th Century H : 52 cm Provenance : Old collection, U.S.A. Alain de Monbrison, Paris Alorda-Derksen Collection, Barcelona Publications : Sotheby s New York, May 1978, Lot Africa, La Figura Imaginada, Fundación «La Caixa», España, 2004, p. 76, nº Exhibition catalogue Formes Rituelles. Parcours des Mondes 2013, Paris, Gallery David Serra - Art Tribal, Barcelona. 42 Photo Guillem F-H

23 布魯塞爾非歐洲文化古董商協會 2014 年成員 BRUNEAF MEMBERS 2014 參展商 PARTICIPANTS ALEXANDER Ancient Art, Voorschoten - NL INDIGÈNES sprl, Brussels - BE AMBRE CONGO FLAK Gallery PASCASSIO MANFREDI AMBRE CONGO Gallery, Brussels - BE ANUBIS Ancient Art, Rotterdam - NL ARTE Y RITUAL, Madrid - ES Tao KEREFOFF, Paris - FR Cécile KERNER, Brussels - BE Philippe LAEREMANS, Brussels - BE p. 14 p. 24 p. 34 BERZ Gallery, Pacifica - USA Olivier LARROQUE, Nîmes - FR Roger BOURAHIMOU, Brussels - BE Alain LECOMTE, Paris - FR Alain BOVIS, Paris - FR Alban BONSIN, Brussels - BE Brant MACKLEY, Hershey - USA Angel MARTIN, Madrid - ES BERZ Gallery Olivier LARROQUE Joaquin PECCI H. Kellim BROWN, Ormond Beach - USA Olivier CASTELLANO, Paris - FR Patrick MESTDAGH, Brussels - BE Sarah de MONBRISON, Brussels - BE p. 16 p. 26 p. 36 Didier CLAES, Brussels - BE Galeria MONTAGUT, Barcelona - ES CLASSIC PRIMITIVES Gallery, Brussels - BE Alain NAOUM, Brussels - BE CONGO Gallery, Brussels - BE Kevin CONRU, London - UK NATIVE Auctions, Brussels - BE Sanne NIES, Eindhoven - NL Roger BOURAHIMOU P. & O. MESTDAGH Lucas RATTON COPPENS Tribal Art, Brussels - BE DALTON SOMARÉ, Milano - IT PASCASSIO MANFREDI, Paris - FR Joaquin PECCI, Brussels - BE p. 18 p. 28 p. 38 Jo DE BUCK, Brussels - BE PUNCHINELLO, Paris - FR Bernard de GRUNNE, Brussels - BE Lucas RATTON, Paris - FR DELETAILLE Gallery, Brussels - BE Laurent DODIER, Le Val St Père - FR Adrian SCHLAG, Brussels - BE Serge SCHOFFEL, Brussels - BE didier CLAES MONTAGUT Gallery Adrian SCHLAG Bernard DULON, Paris - FR Maine DURIEU, Paris - FR David SERRA, Barcelona - ES Pablo TOUCHALEAUME, Paris - FR p. 20 p. 30 p. 40 Michael EVANS, Dijon - FR Rut VAN CAELENBERGH, Brussels - BE Julien FLAK, Paris - FR Frank VAN CRAEN, Brussels - BE Bruno FREY, Arnay le Duc - FR Yannik VAN RUYSEVELT, Brussels - BE GROUP 2 VANHEVEL, Brussels - BE Alain GUISSON, Brussels - BE Renaud VANUXEM, Paris - FR VASCO & Co, Brussels - BE CONGO Gallery Sanne NIES David SERRA Galerie L IBIS, Marrakesh - MA VISSER Gallery, Brussels - BE p. 22 p. 32 p. 42 WWW BRUNEAF COM

24 所有在本目錄中發報的藝術品均通過專家評審驗證 有關這些藝術品的資料, 可以透過電話向相關的畫廊獲得 All the objects published in this catalogue were approved by experts. Information about these objects can be obtained over the phone by calling the relevant galleries. General information and details about BRUNEAF : Secretariat BRUNEAF A.S.B.L. 17 Impasse Saint Jacques - B 1000 Brussels Tel & fax : info@bruneaf.com Website : Pre-press : Thomas Bayet and Sophie Caltaux, Marc Felix, Elnie Wan, Penny Poon Printed by Startec Colour Separation Printing Limited 46

25 XXIV BRUNEAF BRUssels Non European Art Fair Brussels Grand Sablon Opening 4 th June pm 9 pm WWW BRUNEAF COM