Tribal Art < Back Dan Ge Gon Bird Mask Dan ethnic group, Northwestern Ivory Coast/Liberia First half of the 20th Century Provenance: Important private French collection Profound glossy black patina, resulting from repeated anointment and use of incrustations of ritually applied materials. H 24 x W 15 cm The border between Cote d'Ivoire and Liberia cuts across several ethnic groups, including the Dan, Wee, Kran, and Grebo. In Dan society, dangerous immaterial forest spirits are translated into the forms of human face masks. Whether or not they’re worn, such sculptured works are spiritually charged and used in performances, being integrated into the hierarchical system that governs political and religious life. Male performers experience a dream sent by the mask’s spirit, allowing them to dance it. Dan masks have been documented as the embodiment of at least a dozen artistic personalities. This mask with its bird-like beak and oval eyes is known as Ge Gon . Originally pedagogical, historical, and regulatory, Ge Gon was described as a mask of wisdom. It has progressively become mostly used for entertainment purposes that appeals through its bird-like movements in performance. Once separated from their performance contexts, mask forms are difficult to identify. Performance masks may span the careers of many generations of wearers, contributing to the increasingly sacred status and charged spirituality of these objects. A masquerade's vitality may also be transferred from one mask form to another. Over time, any respected Dan mask may eventually be elevated to the category of gunagle, the mask that represents a village quarter, or gle wa, a judicial mask.

Contemporary Design < Back ANTIMOLD #10, 2020 André Silva Sancho (b. 1993) Antimold #10 , 2020 Portugal Blown plastic H 48,5 x W 42 x D 20 cm Used mostly by glass artisans, the blow technique is transferred to plastic, allowing the designer to create unique work pieces that occupy an unclear territory between Fine arts and Design, given its sculptural quality. “ It’s not industrial and it’s not craft, it’s neither art or design, something else in between yet to be defined (...) With Antimold, I challenged myself to explore the limit between industry and craft. I took what is to me the symbol of the industrial production - The Mold - and I broke it and reconfigured it's purpose, giving it a new perspective .” André Silva Sancho, Antimold series Antimold #10, 2020 André Silva Sancho (b. 1993) Portugal Blown plastic H 48,5 x W 42 x D 20 cm Antimold #10, 2020 André Silva Sancho (b. 1993) Portugal Blown plastic H 48,5 x W 42 x D 20 cm Antimold #10, 2020 André Silva Sancho (b. 1993) Portugal Blown plastic H 48,5 x W 42 x D 20 cm 1/2

Tribal Art < Back Small Dan Mask Small Dan Mask from Ivory Coast, Mid twentieth century, Wood, Leather, Other Fibers, H 17,5 cm W 5,5 cm

Miscellaneous < Back STOOLS, 1960s Pair of stools Netherlands, 1960s Oak wood H 49 cm x W 61 cm x D 52 cm

Miscellaneous < Back ARTURO CARMASSI, 1994 ARTURO CARMASSI (Italy, 1925 – 2015) Petit Reportage IV 1994 Mixed media and chalk on canvas H 35 cm x W 39 cm Publ.: Arturo Carmassi, Pierre Restany, ed. Il Ponte, 1992, n. 15

Modern Design < Back PIERRE JEANNERET CHAIR, 1960s Pierre Jeanneret Chair for Chandigarh, India Variant Model of the Office Chair Circa 1960s Teak and straw H 81 x W 50 x D 53cm Observation : This work had intervention of restoration.

Miscellaneous < Back SATORU SATO, 1965 SATORU SATO (Japan, 1945) Untitled 1965 Acrylic on canvas H 46 cm x W 38 cm

Miscellaneous < Back TERESA PAVÃO CERAMICS, 2015-2022 CERAMICS Designer: Teresa Segurado Pavão (Portugal, 1957) Noite e Dia Portugal, 2020 Polished and glazed white clay, oxides, silver, gold H 7.5 cm x D 14 cm Trevo Portugal, 2010 Polished and glazed white clay, brass, silver H 7 cm x W 19 cm Taça-Monge Portugal, 2017 Polished and glazed white clay, oxides, Ming porcelain, silver H 6.5 cm x D 24 cm Taças-Água Portugal, 2019 Polished and glazed white clay, resin H 9 cm x D 8.3 cm Taças-Gelo Portugal, 2019 Polished and glazed white clay, resin, silver H 7.5 cm x D 11 cm Taça-Pagode Portugal, 2017 Polished and glazed white clay, oxides, Ming porcelain, silver, gold H 9.5 cm x D 13.5 cm Taça-Ágata II Portugal, 2022 Polished and glazed white clay, agate, silver, gold H 9 cm x W 10.5 cm x D 18 cm Taças Pedra Hume Portugal, 2018 Polished and glazed white clay, oxides, stone, silver H 7 cm x D 15 cm Taça-Ágata I Portugal, 2016 Polished and glazed white clay, agate H 9 cm x W 9.7 cm x D 11.5 cm Taças-Rosa Portugal, 2017 Textured, polished and glazed white clay, oxides, Ming porcelain, silver H 6 cm x D 11.5 cm Taça Satsuma I Portugal, 2015 Polished and glazed white clay, Satsuma earthenware, silver H 6 cm x D 14 cm Cobalto Portugal, 2018 Polished and glazed white clay, cobalt oxide, silver, gold H 6.5 cm x D 14 cm Taça-Satsuma IV Portugal, 2015 Polished and glazed white clay, Satsuma earthenware, silver, gold H 6 cm x D 14.5 cm Taça-Satsuma III Portugal, 2015 Polished and glazed white clay, Satsuma earthenware, silver, gold H 5 cm x D 14.5 cm Taça-Vegetal Portugal, 2017 Polished and glazed white clay, oxides, Ming porcelain, silver H 6 cm x W 13 cm x D 15 cm Taça Satsuma II Portugal, 2015 Polished and glazed white clay, Satsuma earthenware, silver, gold H 6 cm x D 14.3 cm

Modern Design < Back VARÈSE, c. 1975 Sonia Delaunay (1885-1979) / Atelier Pinton, France, 1975 or before. Artcurial limited edition of 100. Artist’s monogram (SD) Hand-tufted wool tapestry/rug (tufttée), H220xL150 cm Observations: In very good condition. Slight yellowing in white wool, and overall minimal signs of wear in both the upper and lower right corners of the tapestry (inferior to 1cm2). Editor’s label detachment (glue marks indicated in inferior right corner). Titled Varèse after Edgar Varèse (Paris, 1883- New York, 1965), this tapestry refers directly to the invention of simultanism in Music, founded by the cited composer, who bounded with visual artists of the early 20th century art movements. At the Centre Pompidou in Paris, the Kandinsky-Archives preserve correspondence proving the friendship between Varèse and the Delaunay couple, who concurrently developed simultanism in plastic arts. This particular piece is a remarkable example of Delaunay’s simultanism, showing how some colors might seem like a different color when juxtaposed and revealing through the use of contrasting and discordant palettes how these combinations of colors create an impression of movement. Detail of Sonia Delaunay's monogram (SD) Detail of Sonia Delaunay's monogram (SD) Detail of Sonia Delaunay's monogram (SD) Detail of Sonia Delaunay's monogram (SD) Detail of Sonia Delaunay's monogram (SD)

Present Exhibitions < Back Suzana Queiroga: O infinito na caixa Galeria Bessa Pereira, Lisboa OPENING 8 de mai. de 2024 CLOSING 1 de jun. de 2024 Previous Next