Parcours des mondes 2014 press pack

INTERNATIONAL
TRIBAL ART FAIR2O14
PARCOURS DES MONDES
PARIS, SAINT-GERMAIN-DES-PRÉS
9 - 14 SEPTEMBER
Paris, Saint-Germain-des-Prés
Press pack
Contact
LEADING
Agence Colonnes
Claire Galimard _ Lara Fatimi
+33 1 42 60 70 10
contact@colonnes.com

Press relations : Agence Colonnes _ Claire Galimard _ Lara Fatimi _ +33 1 42 60 70 10 _ contact@colonnes.com
www.parcours-des-mondes.com
1
Editorial _______________________________________________________________
p 2
Honorary President ______________________________________________________ p 3
Events ________________________________________________________________
p 4
Exhibitors’ Viewpoints:
Three questions put to Anthony J.P. Meyer and Frédéric Rond (Indian Heritage) ______
p 5
Thematic exhibitions _____________________________________________________
p 7
Images _ Africa _________________________________________________________
p 14
Images _ Americas ______________________________________________________
p 21
Images _ Asia __________________________________________________________
p 22
Images _ Archeology & Contemporary _______________________________________
p 23
Images _ Oceania _______________________________________________________
p 24
List of Exhibitors ________________________________________________________
p 28
Practical Information _____________________________________________________
p 33
Partners _______________________________________________________________
p 34

PRESS PACK
EDITORIAL
68 galleries
with 2 book shops
 34 France
 10 Belgium
 10 USA
 3 UK
 3 Spain
 2 Italy
 1 Australia
 1 Canada
 1 Netherlands
 1 Switzerland
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SALON INTERNATIONAL DES ARTS PREMIERS
PARCOURS DES MONDES
9-14 SEPTEMBER. PARIS, SAINT-GERMAIN-DES-PRÉS
13TH EDI T ION OF PARCOURS DES MONDES _ FROM 9TH TO 14TH SEPTEMBER 2014
A RESOLUTELY INTERNAT IONAL EXTRAMURAL ART FAIR WHERE THE TRIBAL ARTS ARE
HONOURED IN ALL THEIR DIVERSI TY
Considered by collectors from the whole world as the most important event in its speciality, Parcours
des mondes this year presents 68 exhibitors, half of them coming from abroad. A true key moment for
all who appreciate tribal arts, this gathering is hosting nine of the foremost American art dealers,
including the galleries of Thomas Murray, Michael Evans, Jacaranda and Donald Ellis. In less than fifteen
years, Parcours des mondes has forged itself a position as an essential event with a reputation that has
spread well beyond the frontiers of France, and one that is ruled by three essential criteria: high
standards, expertise and authenticity.
If there is one domain in which Paris is leader on the international market, it is that of tribal arts. As of
the first hours of the opening, art lovers and curators from the world’s leading museums roam the
streets of the 6th arrondissement, from one gallery to the next, seeking that unique item to complete
their collection. Paris is not only leader, but was also precursor of the enthusiasm for these arts referred
to as “primitive”, thanks to the numerous artists who, from the beginning of the 20th century, recognised
their true status as art and an endless source of inspiration. Vlaminck, Breton, Eluard, Picasso, Derain
and Matisse were all collectors, particularly of African art, thus leaving a decisive mark in the history of
modern art.
Now Parcours des mondes is the most awaited rendezvous where the biggest transactions are made
for rare items preciously saved for the occasion.
DIVERSI TY SYNONYMOUS WI TH OPENNESS
For a long time identified as an event mostly oriented towards African art, Parcours des
mondes can now boast of its diversity. Tribal arts are explored here in all their forms and
across all continents: the arts of Africa have of course the place of honour but Parcours
des mondes also provides a noteworthy plunge into the arts of Asia and Oceania —
whose importance is growing in the hearts of collectors — arts from the Americas,
especially North America, celebrated until 20 July at the Quai Branly Museum with the
exhibition “Plains Indians”, as well as broad incursions into less well-known domains such
as the arts of the Himalayas, Indonesia or India, or else of textiles. Also to be noted is a
clear and finally quite natural openness to Archeology in the form of classical, Egyptian
and Near East antiquities, among the most ancient testimonies to mankind’s creative
genius.
Nine new young art dealers have joined this 13th edition: the American Berz Gallery of
African Art and Brant Mackley Gallery (ancient art from North America), the British Jonathan Hope (rare
textiles, tribal art), and French dealers from various horizons: Martin Doustar (archaeology,
ethnography), L’Etoile d’Ishtar (archaeology), David Ghezelbash (archaeology), Indian Heritage (art from
India and the Himalayas), Renaud Montméat Arts of Asia (India, China, South-East Asia, the Himalayas),
and Galerie Pablo Touchaleaume (tribal arts, archaeology, arts from Asia).
FOCUS ON THE EXHIBI T IONS WI THIN PARCOURS DES MONDES 2014
The international dimension and the geographic, temporal and aesthetic diversity of the works are not
the only assets of Parcours des mondes. The other strong point of the event resides in the programme of
carefully documented exhibitions presented by the galleries. True keys to understanding, these provide
the public with the chance to more comfortably establish contact with tribal arts. This year, there are no
less than thirty-seven extremely diverse thematic exhibitions to be discovered, such as:
Animal (Galerie Jacques Germain) examining the place of the animal theme in the material culture of
black Africa; The Magic Art (Galerie Olivier Larroque), an exhibition in homage to the works of André
Breton concerned with African art as medium of magical power; Black and White (Dandrieu-Giovagnoni),
where twenty ancient sculptures from Gabon, the Ivory Coast and Mali emphasise the contrast between
light and shade; Golgotha, Looking to Ancestors (Martin Doustar), bringing together an exceptional
collection of skulls and reliquaries from Oceania, Africa and pre-Columbian America, veritable reflection
on the relationship to death in tribal societies; Portraits & Finery from the Solomon Islands (Michael
Evans Tribal Art), a magnificent array of 19th century photographs together with a collection of jewellery
and finery; and also UTARI, the Ainous, Aboriginal People of Japan, Collection of Joseph G. Gerena
(Patrick and Ondine Mestdagh).
See page 7 for the complete, detailed programme of exhibitions.

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HONORARY PRESIDENT
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PARCOURS DES MONDES
ANTOINE FRÉROT , HONORARY PRESIDENT OF THIS PARCOURS DES MONDES
Antoine Frérot is Chief Executive of Veolia Environment.
Interview by Elena Martínez-Jacquet.
Before discussing what Parcours des Mondes means to you, may I ask
how you first became interested in tribal art?
Antoine Frérot : Like many enthusiasts, I discovered tribal art through modern
painting and sculpture; in other words through its forms. Gradually, as I
became more familiar with these objects, this attraction to form changed to an
appreciation of the powerful presence of these works. I feel this presence today
with more intensity than I do with modern art works. I am sometimes tempted
to speak to them, which has never been the case with a painting. The intensity
of this presence is undoubtedly due to their metaphysical nature.
As though they reflect the famous philosophical question, “why is there something rather
than nothing?” tribal artworks have a dimension that goes far beyond questions of form.
Clearly this is a subject you think deeply about, which must be time consuming. Given how
extremely busy you are, how much time do you have to devote to your passion for art and
where do tribal art and Parcours des Mondes fit in?
Antoine Frérot : It’s true that my professional life does not leave me much time. Nevertheless, I do still
have time for my hobbies, art being the main one. As for Parcours, I always look forward to it eagerly. It
is without doubt the finest show in the world in this field. It is clearly the one for which the dealers keep
the best pieces that they have collected during the course of the year. The strength of Parcours definitely
comes from the high standards of quality that the dealers impose on themselves, spurring each other on
and guaranteeing exciting new discoveries for the art lover. Alongside this, the fair’s success also owes
much to the wide range of art forms it covers—and which grows bigger every year. The addition last year
of Native American art exemplifies this, as does the introduction of archaeological material in the 2014
show.
The 2014 Parcours fair you’re referring to is the thirteenth to date. What are your
expectations of it? And what does it mean to you to be honorary president?
Antoine Frérot : I expect some surprises from the most magical pieces at Parcours and also some
intriguing, enticing discoveries from the new fields I mentioned. It was at Parcours that I discovered the
art of Sumatra, about which I previously knew very little. I hope to repeat the experience in another
area. To answer your second question, as an art lover rather than a specialist, I hesitated at first to
accept the invitation from Pierre Moos, the fair’s director. But in the end I decided that it was art lovers
like myself that Parcours seeks to attract in greater numbers every year and to arouse in an interest and
then a passion for tribal art. I want them, as I have done, to take from these works the means to deepen
and enrich their lives.
Finally, what do you see the future of the tribal art market to be? Some have suggested that it
may be reaching its peak.
Antoine Frérot : I don’t believe that to be the case. In terms of audience, the number of enthusiasts
continues to grow, as it is still a little-known field. Given the circumstance, it would be surprising if prices
did not continue to rise. The amounts paid for major pieces of tribal art
are still significantly below those for modern art, yet the artworks evoke just as much emotion and are
just as much a testiment to human genius. I subscribe to the view that tribal art will occupy an
increasing space in everyone’s “imaginary gallery,” a gallery for which Parcours des Mondes each year
continues to provide an exceptional temporary exhibition.

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EVENTS
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PARCOURS DES MONDES
Events
PERCEPT IONS OF THE SALOMON ISLANDS
Wednesday, September 10  9:30am – 11am  Alcazar
Held in partnership with the Société des amis du quai Branly.
Magali Mélandri, curator of the Oceanic collection at the Musée du Quai Branly and curator of
the exhibition L’éclat des Ombres: l’Art en Noir et Blanc des Iles Salomon; Jean-François
Schmitt, collector; and Anthony Meyer, dealer; will discuss their impressions of two pieces
that will presented in the above-mentioned exhibition, which will be on view at the Musée du
Quai Branly, November 18, 2014 – February 1, 2015.
Free entry, on a first come first served basis.
CAFÉ TRIBAL
Born of the desire by the Parcours des Mondes organization to promote interaction at different
levels between the visitors of the fair and prominent figures in the tribal art world, Café Tribal will
be organized in collaboration with Tribal Art magazine and hosted by editor Elena Martinez-Jacquet
with different speakers at each meeting. In this first Café Tribal, which coincides with the
celebration of the 20th anniversary of Tribal Art magazine, the three sessions will look at publishing
in the field of tribal art—features, trends, perspectives…
Free entry, on a first come, first served basis.
Thursday September 11  10am – 11am  Alcazar
- The Book as Warrant for Memory: Publications Against Oblivion of the Fondation Culturelle Musée
Barbier-Mueller.
With Laurence Mattet, director of the Musée Barbier-Mueller and the Fondation Culturelle Musée
Barbier-Mueller, and Pascale-Marie Milan and Stéphane Barelli, authors of the two upcoming
publications for the Fondation Culturelle Musée Barbier-Mueller.
Friday September 12  10am – 11am  Alcazar
Strengths and Weakness of Self Publishing: The Example of Premiers Regards Sur la Sculpture de
Cöte d’Ivoire, winner of The 2013 International Tribal Art Book Prize.
With Christophe de Fabry, Galerie Schoffel de Fabry and editor of the gallery’s publications, and
Bertrand Goy, independent researcher and author of numerous titles on tribal art.
Saturday September 13  10am – 11am  Alcazar
- Transmission: Experiences, Knowledge, and Crossed Perspectives in the creation of Tribal Art Books
With Éric Ghysels, publisher of 5 Continents Éditions, and Hughes Dubois, art director and photographer.

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EXHIBI TORS ’ VIEWPOINTS
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PARCOURS DES MONDES
EXHIBI TORS’ VIEWPOINTS:
THREE QUESTIONS PUT TO ANTHONY J.P. MEYER AND FRÉDÉRIC ROND (INDIAN HERITAGE)
Can we speak of a growing passion for tribal arts over the past ten years?
Anthony J.P. Meyer: Yes, of course. Since the beginning of the 20th century, art dealers have
contributed more than any others to shaping the taste and knowledge of art lovers. A hundred
years later, at the very start of the 21st century, the creation of the Quai Branly Museum, desired
by President Jacques Chirac — this great museum of “Art Premier” to use the "politically correct"
term that prevailed at the time — boosted enthusiasm for tribal arts. For
collectors and institutions around the world, the fact that a public personality
such as Mr Chirac should reveal his own interest for these arts from Africa,
Oceania, the Americas and other "extra-European" regions, set off a process of
learning, appreciation and purchase. Since then, we see among collectors of
contemporary art, or art of the “Haute Epoque” or “Grand Goût Français” some
major and minor works acquired from tribal arts dealers of Paris, New York,
Brussels and elsewhere. Institutional exhibitions are ever increasing, while
museums and foundations organise and prepare events that are either based
solely around tribal art, or in juxtaposing this with modern and contemporary
artistic movements, or even more classic and ancient ones. Prices have of
course followed this curve of increasing interest and the million euro threshold
is nowadays regularly reached and sometimes even largely exceeded. With
regard to these high price, it has to be said that the most active and attractive
market remains within an average of 5,000 to 500,000 euros and that it is
within this very broad range of prices that can be found through art dealers some superb, well-documented
and buyable works, those best able to satisfy the desire of the collector.
Frédéric Rond (Indian Heritage): As regards the Himalayan tribal arts that I am interested in, it is
quite certain that there is real enthusiasm and this has been growing steadily over the last ten
years. The first items brought to the West at the beginning of the 20th century by explorers such as
Jacques Bacot or Sven Hedin were insufficient in number to exist alongside the African and Oceanic
arts abundantly represented at the time and, as a result, they were not promoted to the rank of
inspiring muses by Picasso or Breton. It was only from the time of the opening of the borders of
Nepal in 1951 and its attachment as a route to India and Tibet ten years later that the first
substantial collections of primitive (and classical) objects were to come to light. The Tibetan
exodus, the birth of the Hippie movement, as well as the considerable modernisation of Nepal were
to fuel commercial exchange between western visitors and the local populations.
At the end of the 1980s, mainly in the United States and France, came the first major exhibitions
dedicated to Himalayan tribal arts, exhibitions that also presented, to an extent that was not
negligible, so-called “classical” masks (used in Buddhist or Hindu contexts). It seems that we have
now come to the end of a cycle, the corpus of ancient primitive Himalayan objects having become
almost obsolete in-situ, with some Westerners even selling back to dealers in Kathmandu objects
that they had bought from them in the past! Far from being negative, this turning point on the
contrary promises to valorise these objects as it will from now on be known from which
quantitative and qualitative group source future collections may be constituted.
The relatively recent boom of enthusiasm for this art has meant that a quite broad range of art
lovers have been able to acquire, and still can, some major pieces that are often up to 300 years
old. Recent publications and exhibitions dedicated to this subject (donation of Marc Petit at the
Quai Branly Museum, etc.) as well as others, including a considerable group of primitive Nepalese
pieces such as those presented at the Louvre museum by Bob Wilson last February in the context
of his exhibition "Living Rooms", underline the growing interest in Himalayan tribal arts.
Himalayan tribal arts are developing and remain to be discovered.

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EXHIBI TORS ’ VIEWPOINTS
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PARCOURS DES MONDES
What are collectors looking for when buying a work of tribal art?
Anthony J.P. Meyer: Among my customers I see a mostly intuitive reaction when faced with the
work. A piece attracts their eye and triggers a decisive emotional impact. From the moment the
price, the buyer’s means and the discussion entered into with the dealer converge, the collector
most often leaves with the item. The collector of the old days — one who typically sought to
complete groups — could be said to exist no more. These days, art lovers seek a visual and
emotional shock, backed by the absolute quality of the piece. Most buyers are interested in a broad
range of styles, regions and sorts, thus creating mixes and assemblages of works that match the
particularity of their taste.
Frédéric Rond (Indian Heritage): I think they look for a piece that touches their heart, without
passing by the intellect. These primitive Himalayan objects, going to the essential, exempt from
ideals and other forms of conditioning, have in common with certain contemporary artistic
approaches the fact that they are not linked to a context. They touch the universal and can realise
their full potential wherever they are exhibited. Because little is yet known about them and
because there is very little stereotyping of them, contemplating any of these primitive Himalayan
objects amounts to an encounter with the unknown, a meeting that is often overwhelming and
leads to the desire to know more about them.
Which object has most marked your career as art dealer?
Anthony J.P. Meyer: It would be impossible for me to mention only one object — there are
hundreds of them, because each work speaks to me in "its way". I buy every piece of my stock
because I want it — I need it, even a little 1000 euro lime spatula moves me — I act like a
collector before all else. It is not the size, historical importance, market value or "visual force" of
the piece that particularly touches me — it a more of a quite indescribable overall effect that the
work provokes in me, that catches my attention, intrigues and touches me. I am even more
touched or impressed by works that I cannot attain because they are in museums. I have just
come back from Germany, where I saw in a missionary museum a — or should I say "the" — great
figure from the Bay of Astrolabe. That was a beautiful encounter… and a feeling of desire that has
lasted ever since!
Frédéric Rond (Indian Heritage): This object is a mask of Panjurli
(divinity with the head of a wild boar) in bronze, a Bhutan mask,
originating from Karnataka, and which ended up in the shop of a Sikh
scrap merchant in one of the winding alleys behind the great mosque
of Old Delhi. This encounter was striking as it was the first time I
found myself faced with an object that was resolutely primitive in the
brutality of its expression, but that had been produced using a know-how
and precision worthy of the finest Swiss watchmakers! Somewhat
in the image of Himalayan tribal art, these objects out of any official
religious context have long been neglected by academics, but now,
thanks to the economic emergence of the sub-continent, important
native collections are being uncovered and progressively shedding
light on the cult associated with them.

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THEMATIC EXHIBITIONS
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PARCOURS DES MONDES
ON THE PROGRAMME, THIRTY-SEVEN THEMAT IC EXHIBI T IONS
This non-exhaustive list may be subject to modifications.
— ADAM, Analog-Digital-Ancient Masters —
From Arte y Ritual, Madrid, exhibiting at the Gallery Crous _ 11 rue des Beaux-Arts
Presentation of the book ADAM, together with a virtual visit and a second
exhibition the last finds of ancient masterpieces from Africa, the Pacific and America.
— Mythical Ancestors —
From Jonathan Hope, London, exhibiting at 17 rue des Beaux-Arts
Figures of ancestors from South and South-East Asia dominate the
exhibition, notably with textiles from Indonesia, Cambodia and India.
One of the most outstanding handmade textiles comes from Batik
in central Java, and was designed at the beginning of the 20th century for
the European market. Nevertheless, the material, technique and subject
are intrinsically Javanese. The design is particularly refined and detailed.
The characters of the Ramayana and Mahabharata legends are
represented in the style of the puppets used in the traditional Wayang
Kulit shadow theatre. The organic dye is delicately crowned with Perada
gold leaf.
— Animal —
From Galerie Jacques Germain, Montreal, exhibiting at 2 rue des Beaux-Arts
In traditional African thinking, animals often interact with the spirit world
and the human world. Generally, they may be represented to evoke certain
qualities deserving emphasis, such as strength or craftiness, which does not
exclude them being used to attest to the presence of a water genie or testifying
to a sovereign’s ability to manifest themselves at a distance.
While the modelling of these objects may vary between strict naturalism and a
style that comes down to a few simplified shapes, animal art can also incorporate
imaginative or even disturbing aspects, particularities that could be emphasised
during night-time performances.
In regions of the continent that were strongly marked in the domain of fine
arts, the artist could be faced with the additional challenge of giving some form of
material attachment to creatures whose unfathomable nature required the fusion
of various zoomorphic aspects, sometimes enriched with borrowings from the human register.
In the context of the 2014 edition of Parcours des mondes, the Jacques Germain gallery has put
together a body of works reflecting the key place that the animal theme occupies in the material
culture of black Africa.
An eponymous catalogue accompanies the exhibition.
— Art of India, the Himalayas and South-East Asia —
From Renaud Montméat Arts of Asia, Paris, exhibiting at 49 rue de Seine
Dedicated to sculpture and painting from India, the Himalayas and
South-East Asia, the exhibition pays particular interest to Buddhist art of the
Pala period (North-East India between the 8th and 12th centuries) and its
influence on bordering countries.
A catalogue accompanies the exhibition.

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PARCOURS DES MONDES
— Magical Art —
From Galerie Olivier Larroque, Nimes, exhibiting at 2 rue de l'Echaudé
Homage to the work of André Breton, the exhibition in the gallery basement looks into
African art as a medium of magical power, including powers of alienation, divination, protection
and healing. Dominated by a rare collection of objects from the former Dahomey (Fon), it also
features works from Ivory Coast, Congo, Mali, Tanzania and Nigeria. Sacrificial material, relics,
truly surrealistic amalgams of objects of varied appearance, detailed esoteric symbols or pure
forms on the limits of the abstract, this exhibition presents a troubling journey through this “magic
art” which Breton said might “solve the enigma of the world”.
— Senufo Art—
From Galerie Olivier Castellano, Paris, 34 rue Mazarine
From the secret sculptures of Poro to statues linked to divination, from the
severity of the sculptures from the south of Mali to the gentleness of those from
central Ivory Coast, the exhibition presents a wide panorama of the various
expressions and styles of Senufo art.
— Baining Tapas —
From Kevin Conru, London / Brussels, exhibiting at 10 rue des Beaux-Arts
Art from the Pacific island of New Britain is the most ephemeral of that from Oceania. Made
solely for a precise moment, steeped in the spiritual world, the objects were used once only, then
hidden or ritually burned. Very few of them have survived.
This remarkable group of textiles from the Baining people has however survived, remaining intact
and in perfect condition. Collected by the German explorer Harting in 1900, these masks and
banners were hidden, unknown and out of sight. They represent one of the most elegant traditions
of Oceanic art and are presented by Kevin Conru during the Parcours.
— Bateke: “The Fetishes” —
From Galerie Abla et Alain Lecomte, Paris, 21 rue Guénégaud
This year Abla and Alain Lecomte are pleased to present the second part
of the Bateke collection of Raoul Lehuard, (prolific author of an impressive
collection of books on the Bakongo group, and creator of the famous magazine
“Arts d'Afrique Noire”). This collection was in part put together by Robert
Lehuard (Raoul Lehuard’s father), stationed in Congo-Brazzaville from 1924 to
1933. These pieces are important, not for their size, but for the quality they
give off. This collection of Bateke ''fetishes'', which is also important
historically, has always remained in the Lehuard home and never before been
exhibited.
Also to be noted is the presence of the Cuban-American artist Jose
Bedia, whose paintings inspired by Bakongo Nkisi are to be seen face to face
with the ''fetishes'' throughout the month of September.
An eponymous book of 500 numbered copies will be published on this occasion.
— Jewellery and Bronzes from the Y. Chenoufi Collection —
From Galerie Noir d’Ivoire, Paris, 19 rue Mazarine
The Noir d’Ivoire gallery is honouring the jewellery and bronzes of the Yasmina Chenoufi
collection. All types of material are represented: gold, ivory, bronze and many others. This collection
has been patiently put together over 35 years.

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B L A N C e t N O I R
Ch an tal D AN D RIEU - Fab ri z i o GIOVAGN ON I
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PARCOURS DES MONDES
— Black and White —
From Dandrieu-Giovagnoni, Rome, exhibiting at 15 rue des Beaux-
Arts
Around twenty ancient sculptures from Africa underline the light /
shadow contrast through two predominant colour tones: black and
white.
This confrontation brings to relief the Punu, Ambete and Galoa
sculptures from Gabon in soft wood, with white pigments and elaborate
forms, and the Senufo, Baoule and Bambara sculptures from Ivory
Coast and Mali with their pure lines in hard wood of deep, shiny black.
In the centre of the exhibition shines the Igbo-Izi elephant mask from
Nigeria, a powerful sculpture enhanced by both black and white.
— Ekoi: Anyang, Boki, Ejagham —
From Galerie Afrique, Saint Maur, exhibiting at 14 rue des Beaux-Arts
In the mountainous and forested region of the high Cross River, on both sides of the border
of Nigeria and Cameroon, live the peoples of Bantu origin, who, known as the Ekoi, are made up of
the Ejagham, Boki and Anyang. The exhibition presents a representative collection of the sculpture
of these ethnic groups: head crests, facial masks and helmet masks, most often in wood covered
with antelope skin.
A catalogue accompanies the exhibition.
— En Avant la Musique —
From Galerie SL, Paris, exhibiting at 17 rue Guénégaud
After the exhibition Spoons and Men in 2012 and Headdresses from Central Africa in 2013,
Serge Le Guennan this year invites you to discover a new thematic exhibition En avant la Musique,
(Start up the Music) a trip through the world of African sound. Your sensitive strings will vibrate to
the sound of traditional harps, flutes and whistles, and to the rhythm of drums.
— Golgotha: Looking towards the Ancestors —
From Martin Doustar, Paris / Brussels, exhibiting at 12 rue des Beaux-
Arts
Through an exceptional collection bringing together around forty
ritual skulls and relics from Oceania, Africa, Insulindia and pre-Columbian
America, the exhibition proposes a re-reading of the relationship to death
in tribal societies and ancient cultures.
— Attired Idols —
From the Galerie Pablo Touchaleaume, 21 rue Guénégaud
Coming from the four corners of the globe across three thousand years of history, idols,
gods and ancestors adorned in all their finery constitute the exhibition theme chosen for this first
participation in Parcours des mondes. Illustrating this diversity, mention could be made of the
monumental stele in grey schist of a Hoysala Vishnu covered in jewels, the fragmented terra cotta
of a moving Bankoni mother goddess with bracelet-laden arms, a tiny, remarkable ivory Okvik
figurine with scar-marked features, among others.
A catalogue of the same name accompanies the exhibition.
BLA N C e t N O IR Ch a n t a l D A N D RIEU - Fa b ri z i o G IO VA G N O N I
n o u v e l l e a d r e s s e
d e s Be a u x - A r t s - P a r i s

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PARCOURS DES MONDES
— Mysterious Works from Pre-Columbian America —
From Galerie Furstenberg, Paris, 8 rue Jacob
Both because of the destruction arising from conquest and the recent nature of
archaeological research in America (begun only at the end of the 19th century), numerous pre-
Columbian items raise questions regarding their usage and meaning. Were these objects related to
a cult, for everyday use, strictly for funerals, or for utilitarian, war, sacrificial, decorative,
protective, shamanic, cosmological or ornamental purposes? These are all questions that specialists
face every day and to which, for now, we can offer only the most credible hypotheses. It is this
selection of particularly mysterious objects that makes up our exhibition.
— Mickey in Benin —
From Galerie Vallois Contemporary Sculpture, Paris, 35 rue de Seine
Numerous artists, such as Andy Warhol, Bernard Rancillac, Robert Combas, Alexander
Kosolapov and Peter Saul have been inspired by the character of Mickey Mouse in their works. But
what does Mickey represent for African artists, whose culture has been nourished by other symbols
and different values?
Building on their collaboration begun several years ago with artists from Benin, the Vallois
sculpture gallery has asked around ten of them to work on the theme of Mickey.
The confrontation between the Disney character and the history, imagination, civilisation and
artistic repertoire particular to Africa, and especially Benin, has led to the creation of strong works
whose power is equalled only by their creativity.
— Aboriginal Painting: Abstraction and Sacredness —
From Arts d’Australie  Stéphane Jacob, Paris, exhibiting at 51 rue de
Seine
The essence of aboriginal painting comes from the carnal link it has
with Dreamtime, the mythical time of creation of the world for the Aborigines.
Since the 1970s, Aboriginal artists have been developing contemporary visual
art with the emergence of major talents that Stéphane Jacob invites you to
discover on the occasion of his new participation in Parcours des mondes. This
exhibition is the occasion to present works by Ningura Napurrula, an
outstanding artist who died in 2013 and who had designed a painted ceiling
for the Quai Branly Museum. Also presented is a rare work by her husband
Yala Yala Gibbs, who was one of the founders of the contemporary Aboriginal
art movement at Papunya in the heart of the Australian desert, in 1971. The
public can also discover the works of young artists: Abie Loy Kemarre, Alick
Tipoti, Dennis Nona, the artists of Yuendumu and those of Yirrkala. The exhibition includes around
fifteen works from the Benjamin Clark collection.
On the occasion of the exhibition, two catalogues are being presented: Ningura Napurrula: Peindre
pour nourrir le Rêve / Nurturing the Dreaming and Morris Gibson Tjapaltjarri.

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— Pairs, Couples and Maternity: the Art of Duality —
From Thomas Murray, Mill Valley, exhibiting at 3 rue des Beaux-Arts
The Art of Duality pays homage to the ancient Austronesian belief
according to which any form of life is based on a dualistic concept. The
oldest creation myths describe a primordial deity who created the first
mother and father clan by magic means. All the following generations and
all knowledge come from this original pair. Customary law orders the
required rites and ceremonies during which humans request the
benediction of the earliest ancestors. Their protection ensures the
continuity of the community thanks to the fecundity of marriage and the
prosperity of agriculture, as well as safe passage from birth to death,
where we return to our point of origin and rejoin the ancestors in the
beyond.
In the indigenous animist art of insular Asia, Maternity is a
universal archetype of binary nature, often also expressed in the form of
sculptures, both miniature and monumental. The Mother and Child, as important in the art of the
isolated longhouse as they are in the western tradition, are often represented with great
sensitivity.
Dualism can also be interpreted in an abstract way, whether in the form of a giant tree of
life with two forked branches as seen on the island of Flores or else pairs represented on jewels or
textiles.
— Portraits & Finery from the Solomon Islands —
From Michael Evans Tribal Art, New Haven / Dijon, exhibiting at 16 rue Guénégaud
This exhibition honours the Solomon Islands with a fine collection
of original 19th century photographs explaining the life, traditions and
ceremonies of the native peoples of these islands. Ethnographic
evidence of the first order, the artistic quality of these photos makes
them true works of art. They are accompanied by a collection of
jewellery and finery, most of which comes from the collection of the
Cranmore Ethnographical Museum at Chislehurst in the UK, created by
the famous collector Geoffrey Beasley (1881-1939).
— Regards Premiers —
From Galerie Dodier, Avranches, exhibiting at
35-37 rue de Seine
After America in 2011 with a remarkable exhibition on spoons from
British Columbia, then Africa in 2012 with the presentation of a masterpiece,
the famous Maternity Figure Cup Bearer from Nigeria, the Dodier gallery
completed its trilogy on tribal arts in 2013 with an exhibition on Oceania.
2014 is to be the year of crossing borders, with the gallery presenting
a selection of some forty objects from America, Africa and Oceania. The
common denominator is in quality, prestige and originality. Alongside this
exhibition, the gallery is presenting a collection of fine quality Melanesian spears.

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— Sacred Baoule —
From Galerie Maine Durieu, Paris, 7 rue Visconti
Maine Durieu invites us to discover or re-discover Baoule statuary, one
of the major arts of the Ivory Coast, which as early as the beginning of the
20th century had already won over artists and collectors.
This exhibition goes towards demonstrating the intensity and diversity
of these sculptures that reveal, with as much gentleness as strength, the
complexity of Baoule spirituality, inhabited by ancestors, husbands and wives
from beyond and spirits of the bush. Too often judged solely for their
aesthetic qualities, these works nonetheless express, in a sacred language,
the deep, mystical universe of the human soul.
— Wise and Ferocious —
From Galerie Renaud Vanuxem, Paris, 52 rue Mazarine
This exhibition sets up a confrontation between objects. On the one hand, there are those
that are highly expressionistic, where the grin, cry or trance recurrently express questioning of the
human soul in relation to the supernatural, death and the sphere of the sacred. On the other hand,
there are very serene, meditative objects that reveal through a peaceful, classic approach the
quest for a silent inner beauty.
— Trajectory VI —
From Galerie Frédéric Moisan _ Galerie Hervé Perdriolle, Paris, 72 rue Mazarine
"Indian tribal art is emerging on the international scene. In India, the place of the natives is
no longer in the Museum of Mankind, in those reconstitutions where wax models, dressed in
traditional costumes, are seated around the fire in front of their traditional homes. Here they are
now at the forefront of the contemporary Indian art scene, with works that sell in art galleries and
are shown in museums throughout the world. The voice of Indian tribal populations, long stifled, is
coming back thanks to painting." Le Monde, 17 February 2011
— African Trilogy —
From Galerie Alain Bovis, Paris, 9 rue des Beaux-Arts
In the ancient arts of Africa, the reference to ancestors is almost everywhere. It assumes
forms that have become “great classics” and yet vary from one people to another. We have chosen
three modes of expression that are quite different from each other in style, materials used and
cultures concerned. Kota reliquaries, stones from Sierra Leone and Guinea, and Lega art make up
this “African Trilogy”.
— Archaic Eskimo: Ancient Arts of Alaska (Okvik, Punuk, Thule and Yupik Eskimo) —
From Galerie Flak, Paris, 8 rue des Beaux-Arts
For over 2000 years, around the Bering Strait in Alaska, a succession of brilliant
civilizations developed in the harsh climate of the Great North. Archaic Eskimo cultures, especially
in the Okvik era (100 BC to 200 AD) have left evidence of their exceptional shamanic practices in
the form of carved marine ivory heads and figures that exude intense power, mystery and
sacredness. The Flak gallery is proud and happy to present at the 2014 Parcours des mondes
several museum quality examples of these "miniature giants” (whose size rarely exceeds 10 cm) in
a panorama encompassing the Old Bering Sea cultures of Punuk, Thule and Inuit (Yupik Eskimo).

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— Utari: the Ainu, Native People of Japan - the Joseph G. Gerena Collection —
From Patrick & Ondine Mestdagh, Brussels, exhibiting at 4 rue Visconti
The Ainu are a native paleo-mongoloid people from Hokkaido, the most
northern island of Japan. Sharing a genetic link with Amerindians, Tibetans
and the peoples of Okinawa, the Ainu are probably related to the Jomon
(14.000-300 B.C.), who were the first inhabitants of the archipelago.
The word Ainu means “people”. The men are known for their thick
beards and the women for their dark blue tattoos around the mouth, a
process started during childhood and completed when a girl attains
adulthood.
The Ainu live very close to nature and survive through hunting, fishing and
some limited agriculture. In their deeply animist belief system, the spirit
forces, Kamui, permeate all that is natural – fire, earth, plants, mountains,
land animals and fish. Bears are especially esteemed – idolised, but also
sacrificed.
Evil spirits are kept at bay through rituals, such as the use of
ikupasuy, prayer sticks that are finely carved with protective spiral patterns,
morew. These patterns are also engraved on wooden objects such as ritual dishes and embroidered
on costumes, including the renowned Ainu dresses, some of which are made from chewed elm
bark, known as attush. From the end of the 19th century, the Ainu had access to exchanged cotton
and silk, which developed new possibilities for expression, resulting notably in the ruunpe. (…)
The Gerena collection presents examples of both types. The morew of each type, with
these curvilinear patterns, matches decorative elements found on ancient figurative Jomon pottery.
Similarities in the patterns suggest a cultural tradition of ten thousand years, and this is backed up
by recent DNA research. Ainu patterns also echo decorative elements in ivory coming from Old
Bering Sea Eskimos (circa 100-400 B.C.) and can be linked to some heraldic compositions of
Amerindians from the North-West coast.
— Towards the Beyond —
From Berz Gallery of African Art, Sausalito, exhibiting at 19 rue Guénégaud
Ever since the first communities were founded, most cultures have used objects for calling
spirits (divinities or ancestors) from "the beyond" by following otherworldly, quasi-mystical
principles. The power of these spirits and of the beyond made human existence bearable,
supporting men in the efforts of everyday life. As beautiful and expressive as those of others,
African cultures used masks and objects from which the whole prosperity of their society was
derived. From the promise of a good harvest to the smooth running of a religious ceremony, these
objects amount to real keys for understanding, which the exhibition Vers l’Au-delà (Towards the
Beyond) invites you to discover.
And also:
The Former French Soudan
From Galeria Guilhem Montagut, Barcelone,
exhibiting at 12 rue Guénégaud
What, my Face? From Jo De Buck, Bruxelles, exhibiting at 41 rue de Seine
War! Emblems of power From Indigènes, Bruxelles, exhibiting at 27 rue de Seine
Masks of ancient Haute-Volta From Joaquin Pecci, Bruxelles, exhibiting at 50 rue Mazarine
Arts of Eastern Nigeria
From Dimondstein Tribal Arts, Los Angeles,
exhibiting at 15 rue Guénégaud
Assemblage
From Bruce Franck Primitive Art, New York,
exhibiting at 40 rue Mazarine
Ghurras of Népal
From David Serra - Art Tribal, Barcelone,
exhibiting at 49 rue de Seine
Continuity From Dartevelle, Brussels, exhibiting at 6 rue Jacques Callot
King Size From Pascassio-Manfredi, Paris, résident, 11 rue Visconti
Faces of the World From Galerie Bacquart, Paris, résident, 27 rue de Seine

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IMAGES_AFRICA
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PARCOURS DES MONDES
01 AF _ Galerie Afrique
Female head. Ejagham, High Cross River, border region
Nigeria - Cameroon
Wood and antelope skin. H.: 95 cm
Photo: Hughes Dubois © Galerie Afrique
02 AF _ Galerie Bacquart
Statue. Keaka, Nigeria. 19th century
Wood with thick patina. H.: 49 cm
Photo © Galerie Bacquart
This Keaka statue is a powerful example of the artistic work of
this tribe. (…)
03 AF _ Berz Gallery of African Art
Gbetu mask. Gola, Sierra Leone. Early 19th century
Wood and paint. H.: 62 cm
Photo: Scott Mccue © Berz Gallery of African Art
This expressive Gbetu helmet mask embodies the ideals and
lessons conveyed to the Gola peoples from the beyond. (…)
04 AF _ Galerie Alain Bovis
Mbumba-bwete reliquary. Sango, Kota, central Gabon
Second half of the 19th century
H.: 25 cm
Photo: Mathieu Ferrier © Galerie Alain Bovis
Wooden core covered with copper plates, strips and threads,
bone rings for the eyes, receptacle made up of plant materials
bound with bark string (…)
05 AF _ Galerie Olivier Castellano
Helmet. Senufo, south of Mali, north of Ivory Coast
19th century
Wood. H.: 53 cm
Photo: Hughes Dubois © Galerie Olivier Castellano

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PARCOURS DES MONDES
06 AF _ Classic Primitives
Monkey. Baoule, Ivory Coast. Late 19th century
H.: 16.5 cm
Photo © Classic Primitives
07 AF _ Jean-Yves Coué
Ngon-Ntang dance mask. Fang, Gabon. Late 19th - early 20th century
Wood, raffia and upholstery nails. H. of mask: 29 cm; H. overall: 62 cm.
Photo: Jean-Pierre Guyonneau © Jean-Yves Coué
08 AF _ Dalton-Somaré
Mask. Dan, Toura region, Ivory Coast
Wood, black patina and iron. H.: 53 cm
Photo © Dalton-Somaré
09 AF _ Dandrieu-Giovagnoni
Elephant mask, Ogbodo enye. Igbo Izi, Nigeria. Early 20th century
Wood, pigment, metal, fibers and feathers. H.: 32 cm
Photo: Hughes Dubois © Dandrieu-Giovagnoni
10 AF _ Dartevelle
Nwantantay mask. Bwa, Burkina Faso. 19th century
Wood and polychromy. H.: 187 cm
Photo: Philippe de Formanoir © Dartevelle

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PARCOURS DES MONDES
11 AF _ Jo De Buck Tribal Arts
Initiation mask. Pende, R.D. Congo. Early 20th century
Wood and raffia. H.: 35 cm
Photo: Robbie Boleyn © Jo De Buck Tribal Arts
12 AF _ Joshua Dimondstein
Initiation mask. Yaka, D.R. Congo. 20th century
Wood, fibres, fabric, pigments and raffia. H.: 57.2 cm
Photo: Scott McCue © Joshua Dimondstein
13 AF _ Galerie Dodier
Okuyi mask. Punu, Gabon. Late 19th - early 20th century
Light wood painted with white (kaolin) and red (ngula) pigments and
black (blackened by fire). H.: 27 cm
Photo: Michel Gurfinkel © Galerie Dodier
14 AF _ Galerie Maine Durieu
Statue of king. Baoule, Ivory Coast. 19th century
Wood. H.: 42 cm
Photo: Frank Verdier © Galerie Maine Durieu
This baoule statue is the portrait of a king sitting on a traditional stool,
in a hieratic and majestic attitude (…)
15 AF _ Entwistle
Mask. Baoule, Ivory Coast. Late 19th century
Wood, metal and kaolin. H.: 33 cm.
Photo © Entwistle, France

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PARCOURS DES MONDES
16 AF _ Yann Ferrandin
Female sculpture. Baoule, Ivory Coast
Around the turn of the 19th and 20th centuries
Wood with shiny brown shaded patina of usage. H.: 40.5 cm
Photo: Hughes Dubois © Yann Ferrandin
17 AF _ Galerie Jacques Germain
Duho plank mask. Bwa, Burkina Faso, north-west region
Early 20th century
Wood, pigments and patina of usage. L.: 121 cm
Photo: Hughes Dubois © Galerie Jacques Germain
Although dance accessories from Burkina Faso show certain
homogeneity in formal terms, some predominantly horizontal plank
masks are clearly attributable to Bwa society (…)
18 AF _ Jacaranda
Anthropomorphic pipe. Mangbetu, D.R. Congo. Late 19th century
Wood. H.: 12 cm
Photo: James Worrell © Jacaranda
A beautiful and rare Mangbetu pipe carved as a seated figure. The figure's
torso forms a bowl and her arms are carved free of the body with the
hands resting on her thighs. With typical incised and flared coiffure (...)
19 AF _ Philippe Laeremans Tribal Art
Reliquary figure. Mahongwe, Gabon. 19th century
Wood and copper. H.: 36 cm
Photo: A. Speldoorm © Philippe Laeremans Tribal Art
Magnificent Mahongwe reliquary, as remarkable for its balance as for its
aesthetic quality. Patina of usage.
20 AF _ Galerie Olivier Larroque
Fecundity statuette from Akwaaba. Fanti (Akan), Ghana. Late 19th - early
20th century
Wood, kaolin, trade beads, cornelian, bone and coins. H.: 39 cm
Photo: David Huguenin © Galerie Olivier Larroque
This rare doll with carved body was carried on the back by a young Fanti girl in
order to ensure her fertility and also with a view to passing on to the child its
aesthetic qualities (…)

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PARCOURS DES MONDES
21 AF _ Galerie Abla et Alain Lecomte
Fetish. Bateke, Gamboma, Malebo Pool, D.R. Congo. Mid 19th century
Wood and mixed materials. H.: 43.5 cm
Photo: Paul Louis, Brussels © Galerie Abla et Alain Lecomte
22 AF _ Galerie Monbrison
Fetish. Songye, D.R. Congo. Late 19th century
Wood, antelope horn and brass. H.: 45 cm (with horn)
Photo: Michel Gurfinkel © Galerie Monbrison
23 AF _ Galeria Guilhem Montagut
Statue. Djennenke, Bandiagara plateau, Mali
Hard wood, oily grey patina. H.: 54 cm
Photo: Carlos Insenser © Galerie Guilhem Montagut
24 AF _ Galerie Noir d’Ivoire
Collection of jewellery. Various regions represented, Black Africa
Late 19th – early 20th century, some pieces earlier
Ivory, gold, bronze and other materials
Photo: Brigitte Cavanagh © Galerie Noir d’ivoire
25 AF _ Joaquin Pecci Tribal Art
Sculpture. Dogon, Mali
Wood. H.: 37 cm
Photo: Frédéric Dehaen © Joaquin Pecci Tribal Art

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PARCOURS DES MONDES
26 AF _ Lucas Ratton
Charm. Punu, Gabon. Early 20th century
Wood. H.: 19 cm
Photo: Hughes Dubois © Lucas Ratton
27 AF _ Galerie Philippe Ratton
Tyiwara crest. Bambara, Kinian Cercle, Mali. 19th century
Wood. H.: 53 cm
Photo: Sylvia Bataille © Galerie Philippe Ratton
28 AF _ Galerie SAO
Fetish. Songye, Ivory Coast
Wood. H.: 28 cm
Photo: Pascal Barrier © Galerie SAO
29 AF _ David Serra - Tribal Art
Female statuette. Bambara, Mali. 19th century
Wood. H.: 42.5 cm
Photo: Guillem F-H © David Serra - Art Tribal
30 AF _ Galerie Sigui
Ekpo society mask. Ibibio, Cross-River, Nigeria. Early 20th century
Semi-hard wood with thick black patina. H.: 32 cm
Photo: J.P. Guyonneau © Galerie Sigui
Superb mask with hinged jaw from the male “Ekpo” society, linked to political,
religious and judicial powers, establishment of laws and ancestor cults (…)

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PARCOURS DES MONDES
31 AF _ Galerie SL
Nzoe Ngoma harp. Mitsogho, Gabon. 19th century
Light wood, gazelle skin, plant fibres and kaolin markings. H.: 60 cm
Photo: Franck Verdier © Galerie SL
The big harp, whose vernacular name is Nzoe Ngoma, is characterised by a
cephalomorphic sculpture located at the rear of the arc of the neck (…)
32 AF _ Galerie Pablo Touchaleaume
Seated female statue. Bankoni, Mali. 12th – 15th century
Terra cotta. H.: 69 cm
Photo: Christian Baraja © Galerie Pablo Touchaleaume
This female representation full of humanism escapes the often stereotypical
character of Bankoni terra cottas. Scars left by time reinforce the poetic charge of
this piece (...)
33 AF _ Galerie Schoffel de Fabry
Kuyu helmet mask
D.R. Congo. H.: 42 cm
Photo © Galerie Schoffel de Fabry
34 AF _ Frank Van Craen gallery
Mask. Lega, R.D. Congo
Wood and raffia. H.: 33 cm (without beard)
Photo: Studio R. Asselberghs – Frédéric Dehaen © Frank Van Craen gallery
35 AF _ Galerie Renaud Vanuxem
Figure. Lagoon region (Ebrie/Aladian), Ivory Coast. 19th century
Ivory. H.: 11 cm
Photo: Hughes Dubois © Galerie Renaud Vanuxem

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IMAGES _ AMERICAS
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PARCOURS DES MONDES
01 AM _ Galerie Bernard Dulon
Tsantsa shrunken head. Jivaros - Shuars / Achuars, Peru, Ecuador.
Late 19th century - early 20th century
Insect elytra, hair, feathers, skin, etc. H.: 56 cm
Photo: Vincent Girier Dufournier © Galerie Bernard Dulon
This really beautiful shrunken head comes from the north-west of the
Amazonian forest, on what is now the territory of Ecuador and Peru (…)
02 AM _ Donald Ellis Gallery
Loon mask. Yup'ik, South-west Alaska
Late 19th century (1880)
Wood and pigments. H.: 25.5 cm
Photo © Donald Ellis Gallery
03 AM _ Galerie Flak
Large figure. Okvik, archaic Eskimo, Alaska. 200 B.C. - 100 A.D.
Carved walrus tusk. H.: 9.9 cm
Photo: David O. Marlow © Galerie Flak
This human figure, around 2000 years old, carved from a partially
fossilised walrus tusk, is especially moving through its expressiveness,
refinement and the intensity of its presence (…)
04 AM _ Galerie Furstenberg
Shamanic bowl with fantastical creature. Jama Coaque,
Ecuador, South America. 100–600 A.D.
Orange-tinted grey terra cotta with traces of turquoise pigments
H.: 33.5 cm
Photo: Michel Gurfinkel © Galerie Furstenberg
Quite justly entitled “Surrealism” in the work of reference on Ecuador,
this rare type of work can give rise to multiple interpretations (…)
05 AM _ Brant Mackley Gallery
Kwakwaka’wakw wedding figure, Gwatsinukw village,
north-west coast of North America. Circa 1780-1840
Red cedar and pigments. H.: 78,75 cm
Photo © Brant Mackley Gallery

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IMAGES _ ASIA
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PARCOURS DES MONDES
01 AS _ Jonathan Hope
Ancestor figure. Hampatong, Benna, Kalimantan. 19th century
Wood. H.: 148 cm
Photo: P.J. Gates © Jonathan Hope
02 AS _ Indian Heritage
Rakshasa mask. West Nepal. 19th century
Wood with thick patina. H.: 25 cm
Photo: F. Rond © Indian Heritage
This primitive Nepalese mask with apelike profile and prominent
fangs recalls a portrait of Rakshasa, mythical creature of Hinduism
(…)
03 AS _ Renaud Montméat Arts of Asia
Bhudevi. South India. 13th-14th century.
Bronze. H.: 28.7 cm
Photo © Renaud Montméat Arts d’Asie
04 AS _ Thomas Murray
Ancestor couple. Babar, south-east of Moluccas, Indonesia
19th - early 20th century
Wood. H. man: 137 cm; H. woman: 124.5 cm
Photo © Thomas Murray
05 AS _ Bruce Frank Primitive Art
Hampatong guardian figure. Iban Dayak, West Borneo,
Indonesia. 19th century
H.: 85 cm
Photo: Oren E. © Bruce Frank Primitive Art

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ARCHEOLOGY & CONTEMPORARY
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PARCOURS DES MONDES
01 ARCH _ Galerie L’Étoile d’Ishtar
Arched stele of the musician "Djed-Hathor-Es-ankh"
Art of ancient Pharaonic Egypt,
Ptolemaic period (305-30 B.C.)
Hard limestone engraved and carved out. H.: 34.3 cm; W.: 24.5 cm
Photo: Didier Wormser © Galerie L’Etoile d’Ishtar
Translation of inscriptions from right to left:
"Osiris Djed-Hathor-es-ankh"
"Osiris who presides over the West"
"Harsiesis"
"Isis"
"Anubis" (…)
02 ARCH _ David Ghezelbash Archéologie
Ex-voto plate representing a stylised human face
South Arabian Art, End 1rst millenary B.C. Bronze. H.: 29,8 cm
Photo © David Ghezelbash Archéologie
01 CONT _ Galerie Frédéric Moisan _ Galerie Hervé Perdriolle
Chano Devi
Untitled, 1999
Cow dung on paper. 168 x 151 cm
Photo © Galerie Hervé Perdriolle
02 CONT _ Galerie Vallois Contemporary Sculpture
Dominique Zinkpé
Mickey-Valise, 2014
Wood. 45 x 60 x 20 cm
Photo: Louise Delbaere © Galerie Vallois Contemporary Sculpture

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IMAGES _ OCEANIA
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PARCOURS DES MONDES
01 OC _ Arte y Ritual
Seated woman. Iatmul, Papua New Guinea. 19th century or earlier
Wood and pigments. H.: 15.2 cm
Photo: Carlos Ochoa © Arte y Ritual
02 OC _ Arts of Australia  Stéphane Jacob
Ningura Napurrula. Untitled, 2010
Acrylic on canvas. H.: 153 cm
Photo: Carlie Roach © Art d’Australie  Stéphane Jacob
This rare work by Ningura Napurrula retranscribes the topography of a
sacred site that she referred to little during her career: Ngaminya.
Although this canvas looks abstract to untutored eyes, it is in fact
brimming with symbols (…)
03 OC _ Chris Boylan - Oceanic Art
Elyaborr war shield. Mendi, southern mountainous region, Papua
New Guinea. Early 20th century
Pre-contact, stone-carved wood. H.: 69 cm
Photo: Lucio Nigro © Chris Boylan - Oceanic Art
This stone-carved shield was supported by a sling over the shoulder
and positioned under the arm, so as to protect the torso of an archer.
(…)
04 OC _ Kevin Conru
Female sculpture. Yuat, province east of the Sepik river, Papua New
Guinea. 19th century
Wood and pigments. H.: 91 cm
Photo: Studio Asselberghs - Frédéric Dehaen © Kevin Conru
05 OC _ Martin Doustar
Skull rack. Kaningara, Blackwater river, middle Sepik region, Papua
New Guinea. 19th century
Wood, human skulls, hair, clay, natural pigments, cowry and pearl.
H.: 55 cm
Photo © Martin Doustar
This exceptional ceremonial rack holds two skulls (…)

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PARCOURS DES MONDES
06 OC _Michael Evans Tribal Art
Kia ornamental apron. Shortland Islands, western province, Solomon
Islands, Melanesia. Circa 1870-80.
Trade beads in glass, shells and natural fibres. H.: 108 cm
Photo © Michael Evans Tribal Art
A long multi-coloured apron in glass trade beads (…)
07 OC _ Galerie Patrik Fröhlich
Spirit mask. Border between Singarin and the coastal region, lower
Sepik region, Papua New Guinea. 19th century
Photo © Galerie Patrik Fröhlich
This fine intense mask combines the face of an ancestor with an animal
totem carved on the forehead. The abundant painting that covers the
mask, composed of natural pigments, is intact.
08 OC _ Indigènes
Prow of war canoe. Roviana Lagoon, New Georgia Island,
Western Province, Solomon Islands, Melanasia. 19th – 20th century
Wood, shells and natural pigments. H.: 220 cm
Photo: Studio R. Asselberghs - Frédéric Dehaen, Brussels © Indigènes
War canoes (Tomako) had decorated prows to show the importance of
clan chiefs and could comfortably carry twenty or more warriors (…)
09 OC _ Michael Hamson Oceanic Art
Prow figure. New Ireland. Mid 19th century
Photo © Michael Hamson Oceanic Art
10 OC _ Wayne Heathcote
Neckrest. Papua New Guinea
H.: 73.3 cm
Photo: Rogelio Lopez © Wayne Heathcote

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PARCOURS DES MONDES
11 OC _ Ben Hunter
Kinikini. Fiji, Polynesia. 19th century
Wood. H.: 106
Photo © Ben Hunter
12 OC _ Patrick & Ondine Mestdagh
Tigo type axe. Matty Island, Para-Micronesia. 19th century
H.: 28 cm
Photo: Paul Louis © Patrick & Ondine Mestdagh
The blade is in turtle bone and the handle in wood.
13 OC _ Galerie Meyer Oceanic and Eskimo Art
Bowl. Austral Islands. 19th century.
Wood (known as Tamanu). H.: 38 cm
Photo: Michel Gurfinkel © Galerie Meyer Oceanic and Eskimo Art
14 OC _ Pascassio Manfredi
Bed. Timor
203 x 66 x 33 cm
Photo © Franck Verdier
15 OC _ Serge Schoffel Art Premier
Uli. New Ireland. 18th - 19th century
H.: 126 cm
Photo: Studio Asselberghs-Frederic Dehaen © Serge Schoffel Art Premier
Found only in the central region of New Ireland, the Uli was designed,
then repainted and reused at the funerals of great warrior chiefs.

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PARCOURS DES MONDES
16 OC _ Michel Thieme
Storm charm. Caroline Islands, Micronesia
19th – early 20th century
Wood, lime, dorsal spine of ray, fibre and soot/pigments H.: 43 cm
Photo: Jan van Esch © Michel Thieme
Magic relating to the weather was essential for controlling and
mastering dangers. The most powerful tool for this was the storm
charm (…)
17 OC _ J. Visser
Mask. Region of the Sepik river, Papua New Guinea
Wood, human hair and shells. H.: 58 cm
Photo © Nicolas Clobert
18 OC _ Voyageurs & Curieux
Nguzunguzu prow figure. Solomon Islands, Melanesia. 19th century
Wood, Parinarium resin, paint and nautilus pearl. H.: 16 cm
Photo: Hughes Dubois © Voyageurs & Curieux

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LIST OF EXHIBITORS
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AUSTRALIA
Chris Boylan - Oceanic Art, Sydney _ Oceanic Art
Contact: cboylan@tpg.com.au, T: +61 405 09 35 77
Exhibiting at Gallery Lee _ 9, rue Visconti
BELGIUM
Classic Primitives _ Ancient Arts from Black Africa
Contact : Renaud Riley, renaud.riley@gmail.com, Mob : +32 479 50 43 90
Exhibiting at Gallery Mazarine _ 19, rue Mazarine
Dartevelle, Brussels _ Tribal Arts
Contact: Pierre & Valérie Dartevelle, dartevelle.p@skynet.be, T: +32 2 513 01 75
Exhibiting at Gallery Loevenbruck _ 6, rue Jacques Callot
Jo De Buck Tribal Arts, Brussels _ Tribal Arts
Contact: jdbtribalarts@gmail.com, T:+32 2 512 55 16
Exhibiting at Gallery Sparts _ 41, rue de Seine
Indigènes, Brussels _ Tribal Art from Africa, Oceania and the Americas
Contact: Rita Fryer, indigenessprl@gmail.com, Mob: +32 474 333 972
Exhibiting at Les Yeux Fertiles _ 27, rue de Seine
Philippe Laeremans Tribal Art, Brussels _ Africa
Contact: philippelaeremans@yahoo.fr, T: +32 2 503 00 13
Exhibiting at Bailly Contemporain _ 38, rue de Seine
Patrick & Ondine Mestdagh, Brussels _ Art and Antiquities
Contact: patrick.mestdagh@marine.be, T: +32 2 511 10 27
Exhibiting at Atelier Visconti _ 4, rue Visconti
Joaquin Pecci Tribal Art, Brussels _ Ancient Arts from Black Africa and the Himalayas
Contact: joaquin.pecci@skynet.be, T: +32 2 513 44 20
Exhibiting at Lélia Mordoch _ 50, rue Mazarine
Serge Schoffel Art Premier, Brussels _ Ancient Tribal Arts from all the Continents
Contact: contact@sergeschoffel.com, Mob: +32 473 56 32 33
Exhibiting at Gallery Rive Gauche _ 23, rue de Sein
Galerie Frank Van Craen, Brussels _ African Arts, Ancient Japanese Furniture
Contact: frank.van.craen@skynet.be, Mob: +32 475 66 81 87
Exhibiting at Gallery Daniel Besseiche _ 33, rue Guénégaud
Galerie J. Visser, Brussels _ Tribal Art
Contact: jorisvisser@hotmail.com - T: +32 2 503 49 42
Exhibiting at Cat Berro _ 25, rue Guénégaud
CANADA
Galerie Jacques Germain, Montreal _ Art from Black Africa
Contact: info@jacquesgermain.com, T: +1 514 278 6575
Exhibiting at Gallery Aittouarès _ 2, rue des Beaux-Arts
SPAIN
Arte y Ritual, Madrid _ Tribal Arts from Africa, Oceania and the North-West Coast of America
Contact: Ana & Antonio Casanovas, galeria@arteyritual.com, T: +34 91 522 75 52
Exhibiting at Gallery Crous _ 11, rue des Beaux-Arts

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LIST OF EXHIBITORS
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PARCOURS DES MONDES
Galeria Guilhem Montagut, Barcelona _ Tribal Art from Black Africa
Contact: guilhem@galeriamontagut.com, T: +34 93 215 90 24
Exhibiting at Gimpel & Muller _ 12, rue Guénégaud
David Serra – Tribal Art, Barcelona _ Tribal Arts
Contact: galleria@davidserra.es, Mob: +34 667 52 55 97
Exhibiting at Gallery Marie-Laure de l’Écotais _ 49, rue de Seine
UNI TED STATES
Berz Gallery of African Art, Sausalito _ African Arts
Contact: Andrew Berz, andrew@berzgallery.com, T: +415 362 6601
Exhibiting at Gallery Foret Verte _ 19, rue Guénégaud
Joshua Dimondstein, Los Angeles _ Tribal Art
Contact: africanart@compuserve.com, Mob: +1 415 613 2021 (United States)
Exhibiting at Délire en Formation _ 12, rue Guénégaud
Donald Ellis Gallery, New York _ Ancient Art from North America
Contact: dellis@donaldellisgallery.com, T: +1 212 581 3090
Exhibiting at Gallery Samantha Sellem _ 5, rue Jacques Callot
Michael Evans Tribal Art, New Haven/ Dijon _ Art and Photographs from Oceania and North America
Contact: info@michaelevansfineart.com, T: +33 3 80 28 97 73
Exhibiting at Gallery Couteron _ 16, rue Guénégaud
Bruce Frank Primitive Art, New York_ Oceanic and Indonesian Art
Contact : info@brucefrankprimitiveart.com, T : +1 917 733 9589
Exhibiting at Artefact Design_40, rue Mazarine
Michael Hamson Oceanic Art, Palos Verdes Estates _ Oceanic Art from New Guinea
Contact: mhamson@michaelhamson.com, T: + 1 310 373 1392
Exhibiting at Gallery Landrot _ 5, rue Jacques Callot
Wayne Heathcote, Miami _ Oceanic Art
Contact: wh100@aol.com, T: +44 1865 300 990
Exhibiting at Gallery Nicolas Deman _ 12, rue Jacques Callot
Jacaranda, New York _ Traditional Art from Africa and Oceania
Contact: Dori Rootenberg, dori@jacarandatribal.com, T: +1 212 713 0465
Exhibiting at Gallery Espaces 54 _ 54, rue Mazarine
Brant Mackley Gallery, Hershey _ Ancient Art from North America
Contact: brant@bmgart.com, T: +1 717 554 2176
Exhibiting at Gallery Couteron _ 16, rue Guénégaud
Thomas Murray, Mill Valley _ Asiatica - Ethnographica
Contact: thomas@tmurrayarts.com, T: +1 415 332 3445
Exhibiting at JSC Gallery _ 3, rue des Beaux-Arts
FRANCE
Galerie Afrique, Saint Maur _ African Arts
Contact: alain.dufour@aa-galeries.com, T: +33 1 43 97 29 49
Exhibiting at Gallery Louis Cane _ 14, rue des Beaux-Arts
Arts d’Australia  Stéphane Jacob, Paris _ Australian Aboriginal Art
Contact: sj@artsdaustralie.com, T: +33 1 46 22 23 20
Exhibiting at Gallery Seine 51 _ 51, rue de Seine

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LIST OF EXHIBITORS
30
PARCOURS DES MONDES
Galerie Bacquart, Paris _ Tribal Arts
Contact: Jean-Baptiste Bacquart, contact@jbbacquart.com, T: +33 9 81 24 16 18
Resident _ 27, rue de Seine
Galerie Alain Bovis, Paris _ Tribal Arts from Africa, Asia and Oceania
Contact: galerie.alainbovis@wanadoo.fr, T: +33 1 56 24 09 25
Resident _ 9, rue des Beaux-Arts
Galerie Olivier Castellano, Paris _ Tribal Art
Contact: info@oliviercastellano.com, T: +33 1 73 75 19 24
Resident _ 34, rue Mazarine
Jean-Yves Coué, Nantes _ Africa, Oceania, South-East Asia
Contact: arttribal.coue@free.fr, T: +33 6 08 88 43 20
Exhibiting at Gallery Routes _ 53, rue de Seine
Galerie Dodier, Avranches _ Africa, America, Oceania
Contact: laurentdodier@wanadoo.fr, T: +33 2 33 48 75 91
Exhibiting at Gallery Michel Giraud _ 35-37, rue de Seine
Martin Doustar, Paris / Brussels _ Archeology, Ethnography
Contact: doustar79@aol.com, Mob: +33 6 87 29 30 74
Exhibiting at Martin Loeb gallery _ 12, rue des Beaux-Arts
Galerie Bernard Dulon, Paris _ Tribal Arts
Contact: info@dulonbernard.fr, T: +33 1 43 25 25 00
Resident _ 10, rue Jacques Callot
Galerie Maine Durieu, Paris _ Arts from Africa
Contact: mainedurieu@wanadoo.fr, T: +33 1 43 26 82 52
Resident _ 7, rue Visconti
Entwistle, Paris / London _ Africa, Oceania, America
Contact: Lance Entwistle & Roberta Entwistle, info@entwistle.fr, T: +33 1 53 10 02 02
L’Étoile d’Ishtar, Paris _ Archeology
Contact: Didier Wormser, letoil@club-internet.fr, T: +33 1 46 33 83 55
Yann Ferrandin, Paris _ Ancient Arts from Africa, Oceania, North America and Indonesia
Contact: yann.ferrandin@gmail.com, T: +33 1 43 26 08 37
Galerie Flak, Paris _ Ancient Arts from North America, Africa and Oceania
Contact: Edith and Julien Flak, contact@galerieflak.com, T: +33 1 46 33 77 77
Resident – 8, rue des Beaux-Arts
Galerie Furstenberg, Paris _ Pre-Columbian Arts
Contact: Jean-Christophe Argillet, furstenb@club.fr, T: +33 1 43 25 89 58
Resident _ 8, rue Jacob
David Ghezelbash Archeology, Paris _ Archeology
Contact: david.ghezelbash@orange.fr, T: +33 1 46 33 64 81
Resident _ 12, rue Jacob
Indian Heritage, Paris _ Art from India and the Himalayas
Contact: Frédéric Rond, indian.heritage@yahoo.fr, T: +33 1 42 77 58 48
Exhibiting at Olivier Vanuxem _ 54, rue Mazarine

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LIST OF EXHIBITORS
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PARCOURS DES MONDES
Galerie Olivier Larroque, Nimes _ Ancient Art from Black Africa
Contact: o.larroque@infonie.fr, Mob: +33 6 80 08 00 93
Exhibiting at Gallery Hug _ 2, rue de l'Echaudé
Galerie Alain Lecomte, Paris _ Ancient Arts from Black Africa
Contact: lecomte.afrique@wanadoo.fr, T: +33 1 43 54 13 83
Resident _ 21, rue Guénégaud
Galerie Meyer, Paris _ Oceanic Art and Ancient Eskimo Art
Contact: ajpmeyer@gmail.com, T: +33 1 43 54 85 74
Galerie Monbrison, Paris _ Tribal Art - Antiquities
Contact: courrier@monbrison.com, T: +33 1 46 34 05 20
Renaud Montméat Arts of Asia, Paris _ Art from India, the Himalayas and South-East Asia
Contact: renaudmontmeat@gmail.com, Mob: +33 6 17 61 21 60
Exhibiting at Gallery Claudine Legrand _ 49, rue de Seine
Galerie Noir d’Ivoire, Paris _ African Art
Contact: yas.chenoufi@gmail.com, T.: + 33 1 43 54 97 66
Pascassio Manfredi, Paris _ Tribal Art from Indonesia and the Philippines
Contact: pascassiomanfredi@orange.fr, T.: + 33 1 43 26 34 16
Galerie Philippe Ratton, Paris _ Tribal Arts
Contact: contact@galerieratton.com, T.: +33 1 46 33 34 02
Resident _ 11, rue Bonaparte
Lucas Ratton, Paris _ Tribal Arts
Contact: primitivart@gmail.com, T.: +33 1 46 33 06 24
Galerie SAO, Paris _ Tribal Arts
Contact: France Rivière, galeriesao@live.fr, T: +33 1 42 96 32 60
Resident _ 1, rue Saint-Benoît
Galerie Schoffel de Fabry, Paris _ Africa, Oceania, North America and South-East Asia
Contact: Judith Schoffel _ schoffelvalluet@gmail.com, T: +33 1 43 26 83 38
Galerie Sigui, Angers _ Tribal Arts and Ancient Civilisations
Contact: Jean-François Blondeau, galerie.sigui@gmail.com, T: +33 2 41 20 05 75
Exhibiting at Galerie de l'Europe _ 55, rue de Seine
Galerie SL, Paris _ Arts from Africa and South-East Asia
Contact: Serge Le Guennan, galeriesl@free.fr, T: +33 1 43 25 35 25
Exhibiting at Gallery Da End _ 17, rue Guénégaud
Galerie Pablo Touchaleaume, Paris _ Tribal Arts, Archeology, Arts from Asia
Contact: pablo.touchaleaume@hotmail.fr, T: +33 1 43 54 70 03
Galerie Vallois Contemporary Sculpture, Paris _ Contemporary Sculpture
Contact: Cédric Rabeyrolles Destailleur, sculpture.contemporaine@vallois.com, T: +33 1 43 29 50 84

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LIST OF EXHIBITORS
32
PARCOURS DES MONDES
Galerie Renaud Vanuxem, Paris _ African, Oceanic and Himalayan Art
Contact: rvanuxem@yahoo.fr, T: +33 1 43 26 03 04
Voyageurs & Curieux, Paris - Arts from Oceania
Contact: Jean-Edouard Carlier, contact@voyageursetcurieux.com, T: +33 1 43 26 14 58
I TALY
Dalton Somaré, Milan _ African Art and Ancient Art from Asia
Contact: info@daltonsomare.com, T: +39 02 890 961 73
Exhibiting at Gallery Rauchfeld _ 22, rue de Seine
Dandrieu - Giovagnoni, Rome _ Ancient African Art
Contact: Chantal Dandrieu, info@dandrieuafricanart.com, T: +39 06 69 90 264
Exhibiting at Gallery Michel Vidal _ 15, rue des Beaux-Arts
NETHERLANDS
Michel Thieme, Amsterdam _ Tribal Art
Contact: atart@planet.nl, T: +31 20 330 5335
Exhibiting at Art is You _ 10, rue des Beaux-Arts
UNI TED KINGDOM
Kevin Conru, London / Brussels _ African and Oceanic Art
Contact: kevinconru@yahoo.com, T: +32 478 566 459
Exhibiting at Gallery Arnaud Lefebvre _ 10, rue des Beaux-Arts
Jonathan Hope, London _ Rare Textiles, Tribal Art
Contact: jonathan.hope@btinternet.com, T: +44 207 581 5023
Exhibiting at Gallery Bayart _ 17, rue des Beaux-Arts
Ben Hunter, London _ Art from Oceania and Africa
Contact: ben@tribalhunter.com, T: +44 79 31 747 428
Exhibiting at Galerie de Casson _ 21, rue de Seine
SWI TZERLAND
Galerie Patrik Fröhlich, Zurich _ African and Oceanic Art
Contact: patrikfroehlich@swissonline.ch, T: + 41 44 242 89 00
Exhibiting at Gallery GNG _ 3, rue Visconti
BOOKSHOPS
Librairie Fischbacher, Paris _ New and Ancient Art Books
Contact: Marianne Thonon, libfisch@wanadoo.fr - T.: +33 1 43 26 84 87
Librairie Mazarine, Paris – Rare and Out-of-Print Art Books
Contact: Pierre Durieu, librairie@lamazarine.com - T.: +33 1 46 33 48 37
AND ALSO, OUR INFORMAT ION POINT
Galerie Frédéric Moisan & Galerie Hervé Perdriolle, Paris _ Contemporary Art
Contact: Solenn Laurent, contact@galerie-fmoisan.fr, T: +33 1 49 26 95 44
Resident _ 72, rue Mazarin

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PRACTICAL INFORMATION
33
PARCOURS DES MONDES
WHERE
The Beaux-Arts district of Saint-Germain-des-Prés, Paris, 6th.
Occupation of galleries located along the streets of Beaux-Arts, Bonaparte, de Seine, Jacques Callot,
Mazarine, Guénégaud, Visconti, Jacob, de l’Echaudé and St-Benoît.
WHEN
From Tuesday 9 to Sunday 14 September 2014
Tuesday 9, opening from 3 to 9 p.m.
From Wednesday to Saturday, from 11 a.m. to 7 p.m., Sunday until 5 p.m.
Late night opening on Friday 12 September until 9 p.m.
WHAT
To date Parcours des mondes is the largest international exhibition of
tribal art by the number, quality and diversity of its participants. Since
2002, it has been bringing together every year in Paris around sixty
galleries specialised in the arts of Africa, Oceania and the Americas. A
sign of the success of the event is that 50% of participants this year are
from abroad: American, British, Australian, Belgian, Canadian, Spanish,
Italian, Dutch and Swiss galleries or those from the provinces are joining
others who are permanently installed in the Beaux-Arts district of Saint-
Germain-des-Prés in Paris. This exceptional concentration of works and
experts takes the form of an open, free access art fair where visitors can
browse through the quaint streets of this historic neighbourhood, which
has become the showcase of tribal arts. Each gallery offers a personalised
and intimate presentation of unknown masterpieces from Africa or
Oceania, some more affordable pieces and ethnographic works sought by
collectors. The success of this extramural show, greeted by an
enthusiastic press in 2013, with rising attendance and increasingly international, is due to a combination
of complementary elements: the health of the tribal arts market, the increasing popularity among art
lovers of these arts, efforts by art dealers to offer high quality thematic exhibitions, and the vigilance of
the organisers as regards the quality of the exhibited pieces. Parcours des mondes is an art fair that is
rigorous in its selection of art dealers and in its selection of works.
ORGANISING TEAM Artistic Director: Alexander Arthur
Tribal Art Management alex@primedia.be
BP 18 - 7181 Arquennes - Belgium Organiser: Liesbeth Vanmol
Director: Pierre Moos liesbeth@parcours-des-mondes.com
+33 6 09 17 21 09
PRESS RELAT IONS
Agence Colonnes _ Claire Galimard _ Lara Fatimi _ contact@colonnes.com _ T: +33 1 42 60 70 10

PRESS PACK
PARTNERS
34
PARCOURS DES MONDES
PRESS PARTNERS
Tribal Art Magazine
BP 18, 7181 Arquennes, BE
T: +32 67 877 277
info@tribalmagazine.com
www.tribalmagazine.com
L’Alcazar
62, rue Mazarine, 75006 Paris
T: +33 1 53 10 19 99
Open 7/7, 12-3 p.m., 7 p.m. - 2 a.m.
www.alcazar.fr
www.blogalcazar.fr
IESA
Institut d’Etudes Supérieures des Arts
5, avenue de l’Opéra, 75001 Paris
T: +33 1 42 86 57 01
iesa@iesa.fr
www.iesa.info

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Parcours des mondes 2014 press pack