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Lot Essay
Centre d’excellence artistique du Golfe Huon, l’île Tami se distingue par la variété d’appuis-nuque qui y furent sculptés. Selon la classification proposée dès les années 1960 par l’éminent anthropologue Tibor Bodrogi, cette diversité se diviserait précisément en quatre typologies distinctes, selon le nombre et la position des personnages représentés (Bodrogi, T., Art in North-East New Guinea, Budapest, 1961, pp. 91-97). Parmi celles-ci, la variété présentant une seule figure, allongée sur le ventre et soutenant le linteau de sa tête et de ses jambes, est la plus rare.
L’œuvre de la collection Camu-Beard s’y érige en témoin exemplatif. Une œuvre très comparable et présentant la même iconographie est conservée au musée ethnographique de Budapest (inv. n° 3911, publiée dans Bodrogi, T., Oceanian Art, Budapest, 1959, n° 53). Une autre œuvre analogue, provenant de l’ancienne collection Jay Leff puis John et Marcia Friede, est reproduite dans Friede, J. et M., New Guinea Art. Masterpieces of the Jolika Collection, San Francisco, 2005, n° 379.
An important centre of artistic excellence in the Huon Gulf, Tami Island is distinguished by the variety of neck rests that were carved there. According to a classification put together in the 1960s by the eminent anthropologist Tibor Bodrogi, this diversity can be divided into four distinct typologies according to the number and position of the figures represented (Bodrogi, T., Art in North-East New Guinea, Budapest, 1961, pp. 91-97). Amongst these, the typology representing a single figure, lying on its stomach while supporting the support with its head and legs, is the least common.
The work in the Camu-Beard collection is thus a representative example of this rare typology. A comparable work with identical iconography is currently on display in the Néprajzi Múzeum of Budapest (inv. no. 3911, published in Bodrogi, T., Oceanian Art, Budapest, 1959, no. 53). Another similar work from the former Jay Leff and later the John and Marcia Friede collection is reproduced in Friede, J. and M., New Guinea Art. Masterpieces of the Jolika Collection, San Francisco, 2005, no. 379.
L’œuvre de la collection Camu-Beard s’y érige en témoin exemplatif. Une œuvre très comparable et présentant la même iconographie est conservée au musée ethnographique de Budapest (inv. n° 3911, publiée dans Bodrogi, T., Oceanian Art, Budapest, 1959, n° 53). Une autre œuvre analogue, provenant de l’ancienne collection Jay Leff puis John et Marcia Friede, est reproduite dans Friede, J. et M., New Guinea Art. Masterpieces of the Jolika Collection, San Francisco, 2005, n° 379.
An important centre of artistic excellence in the Huon Gulf, Tami Island is distinguished by the variety of neck rests that were carved there. According to a classification put together in the 1960s by the eminent anthropologist Tibor Bodrogi, this diversity can be divided into four distinct typologies according to the number and position of the figures represented (Bodrogi, T., Art in North-East New Guinea, Budapest, 1961, pp. 91-97). Amongst these, the typology representing a single figure, lying on its stomach while supporting the support with its head and legs, is the least common.
The work in the Camu-Beard collection is thus a representative example of this rare typology. A comparable work with identical iconography is currently on display in the Néprajzi Múzeum of Budapest (inv. no. 3911, published in Bodrogi, T., Oceanian Art, Budapest, 1959, no. 53). Another similar work from the former Jay Leff and later the John and Marcia Friede collection is reproduced in Friede, J. and M., New Guinea Art. Masterpieces of the Jolika Collection, San Francisco, 2005, no. 379.