'MIJOA' DOUBLE BIRD FIGURE WITH CROSSED BEAKS

• The Art Loss Register, London, carried out a search on this object and declared it matchless (ref. # S00006677, 10th of December 2007).

• GRUSENMEYER Karim, ‘The Ancestor Transcends – Sculptural Art from Asia and Oceania’ – Tome III, Jan 2008, cat. #  23

• Bertrand Goy, Arts anciens de Madagascar, 5 Continents Editions, Milan 2015, p.264

Photo credit : Studio Asselberghs – Frédéric Dehaen

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A DÔNG SON HEGER I DRUM TOPPED BY FOUR FROGS

The Heger I type drum showcases a captivating design featuring a circular band of flying cranes rotating in an anti-clockwise direction around a central star motif. Another band showcases stylized representations of feathermen. The body of the drum exhibits an inward slanting profile, a characteristic commonly found in the Red River delta, which serves as the homeland of the Dong Son culture and its people.

Karim & Isabelle Grusenmeyer, Damien Woliner, A World of Sculptures, Brussels, 2016

• The Art Loss Register, London, carried out a search on this object and declared it matchless (ref. # S00036930, 6th of May 2010). 

• Drawings by Raf De Martelaere

Photo credit : Studio Asselberghs – Frédéric Dehaen

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TIGER RUG

Made in four separate bands of equal width, this technique is typical among nomadic Tibetans who use portable, small looms. It is noteworthy for its rare use of green as a background colour.

GRUSENMEYER Karim, The Ancestor Transcends – Sculptural Art from Asia and Oceania, Tome III, jan 2008, cat. # 2

Photo credit : Gallery Grusenmeyer – Woliner

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‘BULL’ JAR

The painted frieze on this burial jar depicts a procession of three sacrificial humped bulls, each tied to a ‘tree of life,’ on a multi-layered plane that is divided into three major spheres: the watery underworld, the earthly world, and the higher spheres of the afterlife. The elongated bodies of the majestic bulls and their centrally placed, staring eyes recall stylistic prototypes from Anatolia, such as Babylonia. The inscription is in a script that has not yet been deciphered.

Bruneaf catalogue, 2005

• TL-test performed by Archeolabs (document reference number BH-05-04-01-01-TL). The result gave a date between 2800 and 3800 years, which puts it in the late Nindowari period.

• The Art Loss Register, London, carried out a search on this object and declared it matchless (ref. # S00036863, 5th of May 2010).

Photo credit : Studio Asselberghs – Frédéric Dehaen

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BELL WITH A RECURRENT 'DOUBLE-EYE' MOTIF

At the top-notch of the object, two terracotta elements are present without a clear purpose or explanation. However, the terracotta material itself can be subjected to thermoluminescence testing (TL testing), which provides a date range estimation. Based on such testing, similar bells have been dated to a period spanning from the 2nd century BC to the 2nd century AD.

Photo credit : Studio Asselberghs – Frédéric Dehaen

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CEREMONIAL JAR

The pottery is adorned with decorative patterns created through incising and impressing techniques. The design features alternating zones of finely punctuated stamping or rouletting, along with burnishing. These techniques add texture and visual interest to the pottery’s surface, creating a distinctive and visually appealing aesthetic.

• TL-test performed by CIRAM (document ref number R1207-O A-02R-6), resulting in an age of ca 2630 years old.

• The Art Loss Register, London, carried out a search on this object and declared it matchless (ref. #S00006670, 10th of December 2007). 

Photo credit : Gallery Grusenmeyer-Woliner

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TYMPANUM OF A PEDJENG DRUM

Photo credit : Studio Asselberghs – Frédéric Dehaen

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