We found 6671 price guide item(s) matching your search

TRIBAL ART; a carved Dan mask adorned with cowrie shells, height 37cm.

TRIBAL ART; an African carved wooden mask with rail top carved with figures, height 38cm.

TRIBAL ART; an African bronze bell with figural decoration and handle modelled as a dagger, height 31cm.

A collection of books mainly on tribal and other art (approx 22).

TRIBAL ART; a Gabon Punu-Lumbo mask with white pigmentation, height 28cm.

A group of African tourist tribal art carvings comprising mask, pair of figures, and two spears, also a pair of small brass vases (7).

TRIBAL ART; a West African carved wooden mask with white pigmentation, height 27cm.

TRIBAL ART; a pair of 20th century tribal carvings, height 30cm.

TRIBAL ART; a Dan mask with hair and beard adorned with cowrie shells, height approx 30cm.

* Tribal Art. An early to mid 20th century African hardwood chair, the curved high back carved with a figure, with a solid seat and figural carved base, old damage, 111 cm high x 53 cm wide, together with a Kenyan hardwood stool, the circular dished top with beaded decoration over four flared supports, 41 cm diameter x 39 cm high QTY: (2)NOTE:Provenance: Collection of Romy Rey, London.

* Tribal Art. An African Fang tribe carved wood mask, the elongated face with white pigment, the edge bound in rush, 46 cm long, together with four further tribal masks, comprising three West African, a Pala, Congo mask plus a Kuba mask cup also from the Congo, 16 cm high QTY: (6)

African Art: Two tribal art figures, both made of wood, one of lady with urn above head, other tribal art geometric designed figure, both on wooden basesFurther Details: Both having some general wear, damage in parts.

Tribal art. Two carved ebony paddles, 142cm and 138cm long. (2)

A large collection of mainly resin Art Deco and other style figurines, to include dancers, Edwardian style ladies, tribal carving, etc.

Tribal Art. An African Dogon Tin Tin Prick 'Beater' Mali figure, from near Bandiagara, early 20thC, formed as a Dogon male sitting on a stool, 82cm high.

Tribal Art. An African Kran (Krahn) Maou warrior mask, 96cm x 18cm x 19cm.

Tribal art. A stained wooden figure, painted with elongated head, on square base, 100cm high.

Tribal Art. An African Kran (Krahn) Chiefs warrior mask, 53cm x 88cm x 33cm.

Tribal art. A carved wall mask, with eagle crest, 79cm high, 35cm wide.

Tribal art. A carved figure of a face held in hands, with notch recesses for CDs and applied hair, 108cm high.

Tribal art. A carved wood male doll, traces of white pigment, 30.5cm h Feet damaged

Tribal Art. A pair of native American  leather and beadwork moccasins 20th century Good conditioin

Group of tribal art and other items, including spearheads, treen, etc

Weibliche Geister-Figur der Tschokwe, AngolaSeltene "kaponya" (weiblicher Geist), Helferinnen-Figur des Ritual-Spezialisten (nganga) bei Wahrsage-Zeremonien (tupele), Holz mit Pigment, H 44 cm (Lit.: Tribal Art Nr. 30, Spring 2003 S. 98; Nr. 85, Autumn 2017, Manuel Jordan, "Chokwe Art and Initiation" 1998, Figur 101)

Antique Tribal Art Australian Aboriginal carved boomerang, with incised decoration, 59cm long.

Tribal Art - a carved stone abstracted figure; another, (2).

Tribal Art - a Native American leather handbag; two African beaded knife sheaths; a pygmy bow; etc (5)

Tribal Art. A hunting spear, with cow's hide handle, 110cm long.

Various collectables, including tribal cruciform carved wood pendant, tortoiseshell lorgnettes, Art Deco cigarette case with dispenser, two boxes, silver-mounted pointer/baton with braided handle, etc (box)

Tribal Art African Dagger, in leather and reptile skin sheath, 42cm overall length, African Wooden Paddle carved with naive figures. (2)

A Roman green glass ribbed footed amphora Circa 3rd-4th Century A.D.17.5cm high Footnotes:Provenance:Robert Cummings collection, Palm Beach, Florida, acquired mid 1960s to early 1970s, and thence by descent.Fine Pre-Columbian, Tribal Art & Classical Antiquities, Arte Primitivo, Howard S. Rose Gallery, New York, 8 December 2016, lot 478.The Nico F. Bijnsdorp Collection (NFB 347), acquired from the above sale.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Tribal Art - a large Fijian kava bowl, of one-piece dug-out construction, four tapered cylindrical legs, 61cm diam, Fiji, MelanesiaProvenance: Silver coloured metal presentation plaque engraved with the insignia of the Fiji Infantry Regiment and inscribed 'To Tony and Pat Palmer from all ranks 1 FIR, Malaya 1955-56'

Carved hardwood African tribal art seat, H: 48 cm. Not available for in-house P&P

A large collection of reference books mainly on the subject of Classical Architecture, Art and design, titles include; The Romance of Architecture, Irish Houses & Castles, Sumer, The Birth of Greek Art, The Discovery of North America, Rome and her Empire. The Complete Greek Temples, Tribal Sculpture, English Parish Churches etc.

λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)MADAME SOULLIER Bronze Signed, titled, inscribed and dated Aug 1969 (to base)57 x 21 x 16.5cm (22¼ x 8¼ x 6 1/5in.)Robert Bain rose to prominence in 1948 when he beat Pietro Annigoni to the Accademia di Belle Arti Firenze's gold medal for his interpretation of Michelangelo's David. The work was later exhibited in 1962 at the Association of Arts Gallery in Cape Town. Born in Edinburgh in 1911 Bain went on to marry Mary Lochiel in 1932 and after the birth of their son Robbie they moved to South Africa. On arrival Bain took up the post of senior lecturer at the Port Elizabeth School of Art. After further study and practice in Italy Bain returned to South Africa and started as head of the Johannesburg School of Art. Bain exhibited widely throughout his career across South Africa and completed important commissions including the bronze relief doors for the South African Reserve Bank in Port Elizabeth and a monumental sculpture of King George IV, for which preparatory studies were made during the royal tour of South Africa in 1947. Robert Bain worked with wood, bronze and marble frequently experimenting with forms in Gesso before producing finished carvings in marble. Bain drew on religious topics, figural depictions and members of his local community. The Immaculate Conception cast in bronze was cast in 1968 and larger version was carved in marble in 1971. These sculptures encapsulate purity, fertility and motherhood. Transcendental flight signifies strength and power. The form twists with smooth curves creating a tall, standing structure which reflects Bain's reoccurring exploration of African iconography through tribal totems and tablets. 

λ ROBERT BAIN (BRITISH/SOUTH AFRICAN 1911-1973)THE IMACULATE CONCEPTION , 1971Carrara marble Signed 45cm (17½in.) Height inc. base Provenance:Direct from the artist's family Robert Bain rose to prominence in 1948 when he beat Pietro Annigoni to the Accademia di Belle Arti Firenze's gold medal for his interpretation of Michelangelo's David. The work was later exhibited in 1962 at the Association of Arts Gallery in Cape Town. Born in Edinburgh in 1911 Bain went on to marry Mary Lochiel in 1932 and after the birth of their son Robbie they moved to South Africa. On arrival Bain took up the post of senior lecturer at the Port Elizabeth School of Art. After further study and practice in Italy Bain returned to South Africa and started as head of the Johannesburg School of Art. Bain exhibited widely throughout his career across South Africa and completed important commissions including the bronze relief doors for the South African Reserve Bank in Port Elizabeth and a monumental sculpture of King George IV, for which preparatory studies were made during the royal tour of South Africa in 1947. Robert Bain worked with wood, bronze and marble frequently experimenting with forms in Gesso before producing finished carvings in marble. Bain drew on religious topics, figural depictions and members of his local community. The Immaculate Conception cast in bronze was cast in 1968 and larger version was carved in marble in 1971. These sculptures encapsulate purity, fertility and motherhood. Transcendental flight signifies strength and power. The form twists with smooth curves creating a tall, standing structure which reflects Bain's reoccurring exploration of African iconography through tribal totems and tablets.Condition Report: Light surface dirt throughout. Glue residue visible to lower edges where the sculpture attaches to the platform. Some evidence of light staining and marks scattered across the surface. Please see additional images by contacting pictures@dreweatts.com Condition Report Disclaimer

Assorted costume jewellery, inc. a Tribal Art manila type bangle bracelet

Polynesian Tribal Art: New Zealand Cook Islands - early 20th c. carved barkcloth beater,with smooth sides not grooved, together with a mid century bamboo Kalimba instrument

Tribal Art: Australian aboriginal woomera in red ochre and having gum handle, 3ft long

Tribal Art: North African short sword in tooled leather scabbard, a drum, an African carved hardstone figure and an Africana carved wood female figure table lamp

Tribal Art: Large antique aboriginal chip carved fighting boomerang, stained with red ochre. Approx. 83cm long (damage to edge of one end)

AN IMPORTANT AND RARE BAMBOO FIGURE OF A CITIPATI, 17TH-18TH CENTURYTibet or Himalayas. Finely carved standing in samabhanga atop a small skull, lacking feet or arms, the spine neatly detailed, the ribs well-executed in openwork, the two large eye sockets vacant, with fierce grimace and teeth bared. Wearing a crown in the form of a vajra rising from lotus-lappets behind three smaller skulls.Provenance: Marc Assayag, Montreal. Indian Heritage, Paris, acquired from the above. Collection d'un Grand Amateur, France, acquired from the above. Marc Assayag is an art dealer, photographer, researcher, and writer. As one of the pioneers of presenting Tribal Art, Marc has been engaged as guest curator in New York, invited to travel with the Cousteau Foundation and served as photographer for many noted publications. As an international Art dealer, Marc participates in major art fairs around the world both as lecturer and dealer. Specializing in Melanesian art, Marc is also, since 2015, owner of the world class Jolika Collection of New Guinea art, and its reputed library. Established in 2006 by Frederic Rond, Indian Heritage is a gallery specializing in Indian and Himalayan art. Located in St Germain des Pres, Paris, it offers a large selection of primitive and classical pieces with a focus on Himalayan masks.Condition: Very good condition with minor old wear, few minuscule nicks, and occasional light scratches. Fine natural patina, commensurate with age, and an unctuous feel overall.Weight: 107.2 g (excl. stand)Dimensions: Height 30.7 cm (incl. stand) and 29.6 cm (excl. stand)With an associated metal stand. (2)Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 2 October 2017, lot 3144Price: HKD 9,100,000 or approx. EUR 1,263,500 converted and adjusted for inflation at the time of writingDescription: An extremely rare large gilt-bronze figure depicting a chitipati or kinkara tibet or himalayas, 17th - 18th centuryExpert remark: Compare the related motif, note the material. 十七至十八世紀罕見竹雕屍陀林像 西藏或喜馬拉雅。竹雕屍陀林立像，無足無臂，脊椎細密，肋骨鏤空，兩個大眼窩，猙獰地露出牙齒。頭上有三個骷髏，其後有一個金剛冠。 來源：蒙特利爾Marc Assayag。巴黎的Indian Heritage，購於上述收藏。法國 一個業餘愛好者收藏，購自上述收藏。 Marc Assayag 是一位藝術品經銷商、攝影師、研究員和作家。 作為展示部落藝術的先驅之一，Marc曾在紐約擔任客座策展人，受邀與Cousteau基金會一起旅行，並擔任許多著名出版物的攝影師。 作為國際藝術品經銷商，Marc 以講師和經銷商的身份參加世界各地的主要藝術博覽會。 Marc 專注於美拉尼西亞藝術，自 2015 年以來，他還是世界一流的新幾內亞 Jolika 藝術收藏館及其著名圖書館的所有者。 Indian Heritage 由 Frederic Rond 於 2006 年創立，是一家專門從事印度和喜馬拉雅藝術的藝廊。 它位於巴黎的聖日耳曼德佩區，有大量原始和古典作品，重點是喜馬拉雅面具。品相：狀況極其好，有輕微的磨損，微小的劃痕，局部有輕微劃痕。 細膩的自然光澤，與年齡相稱，整體感覺潤滑。 重量：不含底座107.2 克 尺寸：總高 30.7 厘米，不含29.6 厘米 配金屬支架 (2) 拍賣結果比較： 形制：相近 拍賣：香港蘇富比，2017年10月2日，lot 3144 價格：HKD 9,100,000（相當於今日EUR 1,263,500） 描述：十七至十八世紀西藏或喜瑪拉雅屍陀林像 專家評論：比較相近的形制。請注意材質。

A FINE SILVER AMULET NECKLACE, c. 1900sNepal, late 19th century to early 20th century. The beads of flower shape and held together by a fabric cord, with fabric 'beads' between the metal ones, the center with a large cylindrical silver amulet pendant chased with floral and geometric decoration. The cord of black threads is bound at certain intervals with gold metal threads and terminates with a silk orange tassel.Condition: Good condition with expected traces of use and wear. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 188 g Dimensions: Length 62 cm (when fastened)

A HIMALAYAN NECKLACE WITH SILVER DISCS AND TURQUOISE, c. 1900sHimalayan region, late 19th to early 20th century. The braided blue string diagonally studded with silver discs with raised ridges, at the center there is a turquoise that serves as the focal point and is flanked by two smaller coral beads.Condition: Very good condition with expected traces of use and wear. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 331 g Dimensions: Length 104 cm (full length)

TWO NEPALI METAL NECKLACES, c. 1900sNepal, late 19th century to early 20th century. Both of bold and chunky form, the first strung with numerous white metal miniature bells and with glass beads at the terminals, the second strung with spiral brass spheres, both on a string.Condition: Good condition with expected traces of use and wear. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 403 g and 612 g Dimensions: Length 39 cm and 33 cm (when fastened)

LOT WITH TWO TRIBAL NAGALAND SHELL STUDDED BELTS AND AN APRON, c. 1900sNagaland, India/Burma, early 20th century. Comprising a leather belt adorned with three horizontal rows of shell beads, with a brass buckle to one side; a shorter cloth belt studded with cowrie shells; and a cloth apron woven in ochre, beige, and red colors, like the belts, it is adorned with cowrie shells and fastened with cloth ties.Condition: Good condition with expected traces of use and wear, few loose threads, and losses to the leather. The cloth belt is missing the ties. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings.Weight: 844 g (total) Dimensions: Length of the leather belt 137 cm, length of the cloth belt 45 cm, height of the apron 40 cm

A BRIGHT BLUE NAGALAND GLASS NECKLACE, c. 1900sNagaland, India/Burma, late 19th to early 20th century. The necklace consisting of 105 blue-colored glass beads slightly increasing in size towards the center where there is a broader amber colored glass bead, as well as two smaller beads at the ends, that are tied together by a fabric string.Condition: Good condition with expected traces of use and wear. Some beads with pitting. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 228 g Dimensions: Length 42 cm (when fastened)

AN INDIAN MULTI-COLORED GLASS NECKLACE, c. 1900sIndia, Uttar Pradesh, late 19th to early 20th century. The necklace consisting of numerous glass beads that come in different sizes, shapes, and colors, such as blue, red, or black. At two points, the necklace separates into three strands of smaller, amber-colored glass beads.Condition: Good condition with expected traces of use and wear. Some beads with pitting and few chips. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 121 g Dimensions: Length 37 cm (when fastened)Literature comparison: For related glass necklaces, used often for the decoration of domestic animals, see the Traditional Jewelry of India by Oppi Untracht, page 85, number 132.

A LOT WITH TWO NECKLACES AND TWO BRACELETS, UTTAR PRADESHUttar Pradesh, Northern India, early 20th century. Three crafted from silver and one from white metal. Comprising two choker (katesari) made of metal and silver units threaded above and below through flattened rings onto cords of black and orange thread. Each necklace has an upper row of flower head units set with gold foil-backed glass, followed by a row of suspended arched units also set with gold foil-backed glass and having pendant grelots. One of the necklaces having the last row embellished with an auspicious central red dot, tikka. Together with two bracelets similarly crafted, one made from rounded rhomboid units and the other consisting of circular and drop-shape units, both having suspended hollow balls, flat discs, and squares.Condition: Good condition with expected traces of use and wear. Few glass insets with small chips or cracks. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings.Weight: 124 g, 157 g, 98 g and 70 g Dimensions: The necklaces 29 cm and 31 cm (when fastened), the bracelets 18 cm and 19 cm (full length).Literature comparison: Compare a closely related necklace and bracelet at the Victoria & Albert Museum, accession numbers IS.137-2019 and IS.45:1&2-2019. For another choker, see the Traditional Jewelry of India by Oppi Untracht, page 231, number 484 and 485.

A KINNAUR BLUE GLASS NECKLACE WITH GAU BOX, c. 1850Himachal Pradesh, Northern India, c. 1850. The necklace is made up of approximately 32 strands of deep, blue-colored translucent glass beads on each side, which come together at the center to meet a metal amulet box (Gau), the box is decorated with intricate filigree wire and set with hardstones, the back is closed with a copper plate, the necklace is tied together at the ends with fabric strings.Condition: Good condition with expected traces of use and wear, the metal box shows dents and a crack to the underside. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 505 g Dimensions: Length 67 cm (full length), width of the box 7.5 cm

THREE SILVER NECKLACES AND A SILVER BRACELET, c. 1900sIndia, Rajasthan, late 19th to early 20th century. Comprising a thick snake chain bracelet and necklace, closing with an S-shaped clasp and a hook clasp respectively; a double chain necklace with elaborated ends set with floral elements, closing with a hook clasp; and a three-strand necklace with spaced hallmarks, flanked by steeped triangular ends showing further hallmarks of animals, closing with a hook clasp.Condition: Good condition with expected traces of use and wear. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 41 g, 75 g, 100 g and 118 g Dimensions: Length 21 cm, 63.5 cm, 40 cm, and 45 cm (full length)

A PAIR OF ENGRAVED TRIBAL SILVER AND METAL TORQUES, c. 1900sRajasthan or Gujarat, India, around 1900. The larger one cast from silver and the smaller from white metal. Both having a broad, flattened shape tapering at both ends and with a hooked terminal, the surfaces are engraved with intricate geometric patterns and set with two flower heads to each side. With roundels that were likely set with hardstones (now lost).Condition: Good condition with expected traces of use and wear. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 216 g and 114 g Dimensions: Diameter 15 cm and 17.5 cmLiterature comparison: For a closely related Indian torque showing similar shape and design see The Victoria & Albert Museum, accession number 308-1904. For another related torque see the Traditional Jewelry of India by Oppi Untracht, page 227, number 471.

THREE TRIBAL AFGHAN METAL ORNAMENTS WITH INSETS, c. 1950sAfghanistan, mid-20th century. The group including a pair of ornaments consisting of a circular top piece with hemispherical domes, a triangular piece attached to it through a loop and set with a red glass cabochon, and a row of numerous chain pendants ending in lozenges of sheet silver and arrow-shaped capsules. Together with a single ornament of similar design, the top piece is in this case inset with four turquoise cabochons.Condition: Good condition with expected traces of use and wear as well as minor dents. Few insets chipped. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 144 g, 134 g, and 99 g Dimensions: Length c. 22 cm each

TWO TRIBAL AFGHAN MULTI-COLORED GLASS AND METAL NECKLACES, c. 1950sAfghanistan, mid-20th century. Each with strands of small metal beads interrupted by a central quadrangular panel and flanked by a pair of triangular panels set with glass beads, suspended from the lowest strand are several oval pendants inset with multi-colored glass cabochons, the metal elements are finely decorated with filigree work and beaded borders, on textile strings.Condition: Good condition with expected traces of use and wear. Three glass cabochons with a small chip and one with a crack. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 198 g and 213 g Dimensions: Length 40 cm and 35 cm (full length)

A TRIBAL AFGHAN MULTI-STRAND SILVER NECKLACE WITH GLASS INSETS, c. 1950sAfghanistan, mid-20th century. Consisting of a silver chain divided into three strands, between the first and second strand are silver coins, between the second and third are circular beads with hemispherical domes, three inset with red and emerald glass; and hanging from the third strand are several chains with pendant rhombus-shaped and oval-shaped capsules.Condition: Good condition with expected traces of use and wear. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 361 g Dimensions: Length 37 cm (full length)

A GROUP OF THREE WHITE METAL LAZEM AMULET NECKLACES, c 1930sYemen, early 20th century. Comprising three ethnic Yemenite necklaces, the first made of metal beads with few red glass beads, a central pendant and two smaller lateral pendants, four grelots are hanging from each of the lateral pendants, creating a jingling sound as the wearer moves, the central pendant of U-shape is also adorned with four suspended pendants, the necklace closes with a clasp. The second with strands of small metal beads intercepted by slim rectangular panels and flanked by a pair of triangular panels, suspended from the lower string are five rectangular pendants with grelots fringes, the central one is inset with a red bead, the necklace closes with a clasp. The third a necklace with strands of small metal beads intercepted by rectangular panels and flanked by a pair of triangular panels, suspended from the central panels are five pendants with metal fringes, two have tubular shapes, one is shaped as a flattened flower head, one is inset with a red glass nugget and the last is inset with a glass piece with the letters COINTREAU, from a vintage glass bottle of that famous brand. All the metal elements are finely decorated with floral elements and beaded borders, on a textile braided string.Condition: Good condition with expected traces of use and wear as well as minor dents and surface scratches. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 104 g, 112 g and 164 g Dimensions: Length 50 cm, 36 cm and 59 cm (full length) In the 19th century, until their final exodus to Israel in the 1950s, Jewish goldsmiths made most of the jewelry in the Yemen. They were particularly renowned for the quality of their filigree work. This type of necklace, called a lazem, is one of the traditional styles made by the Jewish goldsmiths. Its main distinguishing feature was one or more pendent cylindrical amulet cases. These amulets were worn by both Jews and Muslims. In many cases, the case did not open, as the shape alone was considered sufficient to provide protection. Literature comparison: For a related lazem necklace see The Victoria & Albert Museum, accession number M.98-1909.

A GROUP OF THREE SILVER AND METAL PENDANTS, c. 1900sMiddle East, late 19th century to early 20th century. The first of flattened rectangular form with applied mask plaques and a central blue glass inset, with diamond shaped pendants. The second of flattened tapering rectangular form, applied with flowerheads and spiraling elements. The third a silver cylindrical amulet case with flower-shaped pendants.Condition: Overall good condition with expected traces of use and wear. The amulet with a large crack. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 94 g, 55 g, and 40 g Dimensions: Height 6 cm, 8.5 cm and 12 cm, Width 9 cm, 9.5 cm, and 10 cm

A PAIR OF TURKOMAN GLASS INSET SILVER BRACELETS, c. 1900sTurkmenistan, Tekke people, late 19th century to early 20th century. The appealing silver bracelets displaying an elaborately decorated exterior, with several horizontal rows of braided and horseshoe bend wires, as well as applied flowerheads intercepted with bright red glass cabochons insets. Each side of the bracelet features 7 equidistantly spaced, snakehead terminals.Condition: Good condition with expected traces of use and wear. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 785 g Dimensions: Length 12 cm eachTurkoman jewelry is one of the most distinctive and easily recognizable styles of traditional jewelry. It was worn by the nomadic tribes of Central Asia, in the present region of Turkmenistan and parts of northern Iran and Afghanistan.

A PAIR OF TURKOMAN OPENWORK SILVER BRACELETS, c. 1900sTurkmenistan, Tekke people, late 19th century to early 20th century. The elegant silver bracelets displaying an elaborately decorated exterior, with several horizontal rows of floral motifs, undulating nodes, and other ornamental designs, all crafted in openwork. Condition: Good condition with expected traces of use and wear. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 647 g Dimensions: Length 14.7 cm each Turkoman jewelry is one of the most distinctive and easily recognizable styles of traditional jewelry. It was worn by the nomadic tribes of Central Asia, in the present region of Turkmenistan and parts of northern Iran and Afghanistan.

A TURKOMAN SILVER AND CARNELIAN AMULET HOLDER, c. 1900sTurkmenistan, late 19th to early 20th century. The triangular-shaped pendant consists of three sections, the triangular top, a bozbend tube which opens to reveal a compartment for holding prayer scrolls, and a row of four floral shaped elements suspending chains ending in ball-shaped bells which produce a pleasant sound. All three silver elements are embellished with twenty table-cut carnelians. The top set with a leather strap applied with metal discs allowing it to be worn on the wearer's chest.Condition: Good condition with traces of use and wear. Provenance: Romy Rey Collection, London. Romy Rey (1938-2020) was born in Zurich, Switzerland, studied in Paris and Geneva, and settled in London in the 1960s. She shared her life with the artist Brian Davies (1942-2014), in London and in Southern France. Romy was an avid traveler and dedicated collector of tribal art. Her paintings often portrayed images of ancient or tribal objects in imaginary settings. Weight: 576 g Dimensions: Height 70 cm, width 22.5 cmLiterature comparison: For a closely related amulet holder of similar shape see The Metropolitan Museum of Art, accession number: 2006.544.9.Turkoman jewelry is one of the most distinctive and easily recognizable styles of traditional jewelry. It was worn by the nomadic tribes of Central Asia, in the present region of Turkmenistan and parts of northern Iran and Afghanistan.