Collection du comte de Brosse, France, avant 1842
Transmis par descendance
Collection privée, France 

Please contact the department for condition report +33 (0)1 53 05 52 67 ; alexis.maggiar@laitexier.com
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Si les chambranles de porte jovo furent observés par James Cook puis par Antoine Bruni d’Entrecasteaux lors de leurs voyages en Nouvelle-Calédonie (1774 et 1793), aucun ne figura parmi leurs collectes. Daté au carbone 14 (CIRAM 1215-0A-299X) de la fin du XVIII^e siècle, ce chambranle figure parmi les premiers témoins de la sculpture architecturale Kanak acquis in situ. Il entra avant 1842 dans la collection du comte de Brosse, petit-fils du célèbre auteur d'Histoire des navigations aux terres australes, qui le reçut à ce titre.

« Mémorial pour perpétuer la présence de l’ancêtre et conserver sa protection» (Guiart, Océanie, 1953, p. 252), ces appliques destinées à encadrer la porte d’entrée de la Grande Case représentent la figure ancestrale enveloppée dans son linceul en tapa. Le visage traduit les canons de l’art Kanak : mince bouche, nez imposant évoquant ici un bec, yeux en amandes grands ouverts protégés par les arcades sourcilières émergeant en surplomb. Le bandeau frontal gravé de chevrons affrontés représente la cordelette de la fronde. De ce visage se dégage une « impression de force paisible, [celle] de l’ancêtre qui veille sur la demeure » (Guiart, L’art autochtone de Nouvelle-Calédonie, 1953, p. 21).

Au classicisme du visage répond la rareté du décor évoquant le tapa. Les courbes profondément gravées qui le composent s’entrecroisent pour former une succession d'ovales étirés, qui se singularisent du décor classique à étoiles ou à croix. L’utilisation du bois de bancoulier, et non🍃 du traditionnel bois de houp, constitue également une particularité témoignant selon toute vraisemblance d’un style régional marqué, probablement originaire du sud de la Nouvelle-Calédonie.

Kanak door jamb, New Caledonia

Although jovo door-frames were recorded by James Cook and subsequently by Antoine Bruni d'Entrecasteaux during their respective journeys to New Caledonia (1774 and 1793), not one presented in the documents about their collections. Carbon dated to the late eighteenth century and having entered the collection of the Comte de Brosse prior to 1842, this object is therefore among the first specimens of Kanak architectural sculpture acquired in situ.

As a "Memorial to perpetuate the presence of the ancestor and retain his protection" (Guiart, Océanie, 1953, p. 252), these sconces, intended to frame the front door of the Great House, represent the ancestral figure wrapped in a shroud made from tapa. The face reflects the canons of Kanak art: a thin mouth, a large nose, which here evokes a beak, wide open almond-shaped eyes protected by overhanging eyebrows. The forehead panel, engraved with opposing chevrons, represents the sling cord. From this face there emanates an "impression of quiet strength, [that] of the ancestor who guards the house" (Guiart, L’art autochtone de Nouvelle-Calédonie, 1953, p. 21).

The classicism of the face echoes the rarity of a décor recalling the tapa. The deeply etched curves composing it intersect to form a succession of very elongated diamond shapes, which stand out from the traditional décor of stars or crosses. The use of candlenut wood, rather than the traditional houp wood, is also a feature that attests to a marked regional style, probably from the south of New Caledonia.