1964. Original 1964 "Galerie Bernheim-Jeune" Ladislas Kardos exhibition poster in Very Good condition. Minor toning throughout. Creasing to edges. Measures 15" x 22". Shelved in Hallway. More

1959. Original 1959 "Musee du Louvre" La Vie Privee en Grece et a Rome exhibition poster in Good Plus condition. Inch long closed tear to left edge. Bumping to and striking edges. Minor toning throughout. Creasing to edges. Measures 18" x 24". Shelved in Hallway. More

1963. Original 1963 "Galerie du Damier" Noir et Blanc exhibition poster in Good Plus condition. Residual taper to top edge. Strike with puncturing to left edge. Minor toning throughout. Creasing to edges. Measures 13" x 20.5". Shelved in Hallway. More

1977. Original 1977 "Kupka" Musee d'Art Moderne exhibition poster in Very Good condition. Minor scuffing to bottom edge. Minor toning throughout. Creasing to edges. Measures 15.75" x 23.75". Shelved in Hallway. More

1965. Original 1965 "Galerie Katia Granoff" Popovitch exhibition poster in Very Good condition. Residual tape to top edge. Minor toning throughout. Creasing to edges. Measures 15" x 21.5". Shelved in Hallway. More

Mali. This imposing Dogon Sirige-type mask relates to the famous Dama funerary ceremonies of Mali, during which towering masks were danced to honor the deceased and facilitate their transition into the ancestral realm. The elongated architectural form is characteristic of Sirige masks, among the most iconic and visually dramatic ritual objects of the Dogon tradition. Measures 12 in. x 97 in. Overall good display condition with evident age and use. Surface exhibits substantial wear throughout, including pigment loss, abrasion, and scattered losses to the dark encrusted surface layers. Numerous age cracks, splits, and small losses are present to the wood and openwork elements. Fiber lashings and cord bindings show wear, fraying, and losses. The reverse retains a netted fiber component with significant age-related deterioration and broken strands. Scattered insect-related holes and minor structural losses are visible, particularly within the openwork sections. Areas of repair, reinforcement, or reattachment may be present, and the mask is currently mounted to a later custom display base. More

20th century. Hand-carved African mask in the Punu tradition, featuring a white kaolin-painted face, stylized crested coiffure, almond-shaped eyes, and attached raffia collar. The serene facial expression and distinctive white pigmentation reflect the aesthetic associated with Gabonese spirit and ancestor masquerades. Carved from a single piece of wood and displaying attractive surface wear, pigment loss, and age-related patina throughout. Measures 15.5 in. x 19.25 in. x 10.25 in. Surface exhibits expected wear, scattered losses to paint, abrasions, scratches, and minor edge losses. Visible age cracking and handling wear throughout. Raffia shows fraying and losses consistent with age and use. No major structural breaks. More

20th century. Painted wood smoking stand. Measures 36 in. (height). Good overall vintage/used condition with visible age and wear. Painted wooden surfaces show scattered scuffs, scratches, rubbing, paint loss, discoloration, and surface grime consistent with use and display. Edges and corners show wear, especially around the base, tray, feet, and protruding elements. There are some small chips, abrasions, and finish losses, with oxidation/wear to metal fasteners or rivet details. The standing base appears intact but shows surface wear and soiling. More

early 20th century. Hand-carved wooden architectural door believed to originate from West Africa, featuring a traditional sliding-bar lock and carved central locking element. Constructed from heavy hand-hewn planks with mortise-and-tenon joinery, the door displays a rich aged patina, extensive wear from use, and attractive weathering throughout. The lock housing is decorated with simple incised linear motifs, while the overall form reflects the practical yet sculptural character of indigenous African architecture. Mounted on a custom metal display stand for presentation. The display stand runs vertically long the entirety of the backside (along the right edge). Door measures 24.5 in. x 48.5 in. Heavy age and use wear consistent with prolonged outdoor or architectural service. Surface losses, cracks, splits, abrasions, insect activity, and weathering throughout. More

20th century. Hand-carved and painted wooden figure depicting a standing man wearing a white cap, blue shirt, tie, and red trousers while carrying a camera. Executed in a colorful folk-art style associated with mid-20th-century West African carving traditions. The figure's expressive facial features, bright paintwork, and occupational subject matter reflect the popularity of depictions of photographers, civil servants, and other modern professions during the colonial and post-colonial era. Measures 12.5 in. x 3 in. x 2.5 in. In Very Good condition with mild wear. More

Haiti: 20th century. Signed folk art figure sculpture by artist "Victor," depicting an elderly gentleman in a bright yellow patterned shirt and red trousers. Hand-modeled in a hollow composite or clay-based material and painted in vibrant colors, the figure displays expressive facial features and strong folk-art character. Signed "Victor" and dated 1998 (appears to read '98) on the reverse. While the subject is unidentified, the figure bears a resemblance to Nelson Mandela and may have been inspired by the celebrated South African leader. Measures 5 in. x 20 in. x 4 in. More

20th century. Hand-carved and vividly painted Haitian folk art sculpture depicting a traditional tap-tap passenger bus. Executed in carved wood and decorated with colorful scenes of passengers, birds, fruit, geometric motifs, and French inscriptions including "Qui va lentement arrive sûrement." The vehicle is identified as a Mazda truck conversion, reflecting the brightly ornamented public transportation buses that have become cultural symbols of Haiti. Richly detailed on all sides, including seated roof passengers and hand-painted advertisements, the piece captures the energy and visual culture of Caribbean street life. Measures 17 in. x 16 in. x 7 in. In Very Good condition with minor chipping and paint loss. More

South Africa. A pair of carved stone bookends, each shaped as a stylized human face in profile with raised circular eyes, long vertical noses, minimal incised mouths, and squared architectural forms. The simplified facial design and polished dark stone match modern Shona-style stone carving from Zimbabwe, where sculptors often use serpentine and related hard stones. Dimensions approximately 9 x 3.75 x 2.5 inches In Very Good condition. Surface wear throughout, including scattered scratches, scuffs, and minor abrasions. Edge wear is visible, especially along corners and raised facial details. More

Ivory Coast. A carved and painted wooden Senufo bird figure, commonly known as a prosperity bird. The sculpture is modeled with an elongated, downward-curving beak, long, slender legs, an upright body, and large, vertical wings decorated with white-painted spots and incised linear details. The figure stands on a carved turtle-form base with geometric incised decoration. In Senufo tradition, bird figures are associated with fertility, protection, prosperity, initiation, and the transmission of knowledge within the community. The bird is often seen as a powerful emblem associated with ancestral continuity. The turtle-form base suggests endurance, spiritual grounding, and the connection between the earthly and spirit realms. Dimentions approximately 26 x 9 x 7.5 inches In Very Good condition. Surface wear throughout, including scratches, abrasions, and scattered chipping. Chipping is most noticeable along the edges of the turtle base, toes, tail, wing tips, and sides of the wings. A crack measuring approximately 4 inches is visible at the front of the turtle base. Fine cracks are present along the back of the bird. More

Nigeria. This cast brass head represents an Iyoba, or Queen Mother, in the Benin Kingdom style of Nigeria. It displays an idealized face with almond-shaped eyes, a broad nose, full lips, circular ears, a ringed neck, and a tall, textured headdress. These busts honor the Queen Mother’s significant role in royal lineage, spiritual protection, and the continuity of Benin kingship. Dimensions approximately 20 x 5.5 x 7 inches In Very Good condition, with surface wear such as oxidation, discoloration, rubbing, accumulated residue, and scattered abrasions. Minor casting irregularities are present, most notably at the right hairline and lower headdress. More

Ivory Coast or Liberia: 20th century. Large and visually impressive West African helmet mask or masquerade headdress, likely originating from the Voltaic region of West Africa (Burkina Faso, northern Côte d'Ivoire, or neighboring areas). The mask features a finely carved dark wooden face with stylized features, heavily adorned with cowrie shells and red trade-bead-style ornamentation. A dramatic elongated conical superstructure covered in aged textile extends behind the face, creating a powerful sculptural presence. The construction combines wood, cloth, cowrie shells, and fiber elements, reflecting traditional masquerade practices in which such masks were worn during ceremonial performances. The piece exhibits substantial age and authentic wear, including losses, fraying, surface wear, and repairs consistent with use and age. Mounted on cobtemporary stand. Dimensions: Approximately 9 in. x 5.5 in. x 4.5 in. Condition is consistent with age and use. Wear, fraying, losses, holes, and repairs to the textile covering. Scattered surface wear and abrasions to the wooden mask. Cowrie shell ornamentation appears substantially intact with possible minor losses. Red beadwork shows age-related wear. Overall presents well and retains a strong aged patina throughout. More

Ivory Coast. A carved wooden male standing figure holding a small bowl with both hands. The figure has an elongated body, carved facial features, raised scarification marks, and a crested coiffure. The bowl held at the chest suggests an offering, ritual, or ceremonial function, possibly associated with presentation, divination, or spirit-related practice. Dimensions approximately 23 x 5 x 4.5 inches In Good condition. Moderate surface wear throughout includes heavy abrasions, scattered chips, surface cracks, stains, discoloration, and accumulated residue. There is an approximately 10.5” vertical split from the base of the neck down to the lower rear body. A 3.5” split appears at the back of the head where the coiffure folds inward, with additional cracks around it. The wood is split at the center back of the base and cracked at the front. Chipping and wood loss affect the toes, including a 2" crack at the side of the left foot with a 1 x 0.25" loss at the base. Scattered chipping and abrasions occur on the hair and surface. An approximately 2 x .25” loss or indentation is on the left side of the face, possibly due to the wood’s natural structure. Random losses are visible on the proper left hand holding the bowl and on the left abdomen. The tip of the lower frontal anatomical element is chipped. More

Democratic Republic of the Congo. A carved wooden female figure stands with both arms raised, supporting a small bowl or vessel above her head. The figure has a rounded head, arched brows, almond-shaped eyes, pronounced breasts and abdomen, and a simplified elongated body. These bowl-bearing female figures symbolize divination, royal authority, spirit mediation, and the role of women in preserving lineage and sacred knowledge. Dimensions are approximately 19.5 x 6 x 5.5 inches Surface wear throughout includes stains, accretive residue, discoloration, scattered scratches, abrasions, and areas of dryness to the wood. There is a 4” crack on the left side of the face, with two additional fine cracks about 1” nearby. A 3” crack is on the front torso, and a 5”vertical crack runs down the center back. The right ankle has a 3.5” crack. There are chips on the center rear/buttock area and the side of the torso. The bowl has a 1/2” crack and a chip on the brim. More

Mali. This carved wooden bowl is supported by three standing figures, two female and one male, each depicted with raised arms holding the vessel. The bowl features a rounded, tapering form and incised geometric decoration on the exterior. The figures provide both structural support and symbolic meaning, representing support, fertility, lineage, and communal offering. In Dogon tradition, such figural vessels are often linked to status, ritual presentation, offerings, or communal use. Dimensions approximately 12 x 8 x 7 inches In Good condition. Moderate surface wear is present, including scattered cracks, abrasions, discoloration, water or moisture staining, and light residue. A large vertical crack, approximately 9 inches long, extends from the base to the bowl's brim. One female figure has a loss to the left forearm, leaving an approximately 1 in. gap. More

Mali. A cast bronze lidded box with arched cover, raised equestrian figures, animal-form side handles, short feet, and incised decorative borders. The sides feature relief animal motifs, including a lizard or crocodile-like figure. In Dogon tradition, boxes like this are linked to status, ritual use, and symbolic storage, and may have held offerings, ritual materials, valuables, or sacred objects. Dimensions approximately 7 x 9 x 3 inches. In Very Good condition. Surface wear throughout, including oxidation, corrosion, abrasions, discoloration, and heavy accretive residue. Loss to the front edge measuring about 1 x 0.25 in. and to the rear about 1 x 0.5 in. Scattered dents, casting irregularities, edge wear, and small losses. More

West Africa: 20th century. Striking large-scale hand-carved wooden sculpture depicting a standing female figure emerging organically from a naturally shaped tree trunk. The artist has skillfully incorporated the contours, knots, voids, and grain of the wood into the composition, creating a powerful interplay between natural form and human representation. The figure features a serene downward gaze, stylized coiffure or head covering, and raised hand gesture, while the body remains partially enveloped within the original trunk, emphasizing themes of transformation and spiritual presence. Rich dark patination on the carved head and torso contrasts beautifully with the lighter natural wood surfaces, highlighting the sculptural details. The work possesses a strong modernist and folk-art sensibility, recalling both African-inspired carving traditions and contemporary organic sculpture. Mounted on a custom metal display stand. Dimensions: Approximately 41.5 in. x 7 in. x 7 in. Condition: Overall Good condition with attractive age and surface character. Natural knots, checks, voids, bark losses, drying cracks, and irregularities inherent to the original wood are present throughout and appear intentionally incorporated into the design. Scattered abrasions, minor losses, and surface wear consistent with age and handling. Mounted to a later metal display stand for stability. More

Burkina Faso: 20th century. Large carved wooden mask in the style of the Bwa peoples of Burkina Faso, featuring a broad oval face surmounted by dramatic ridged antelope-like horns. The mask is decorated in black and white pigments with geometric eye surrounds, a rectangular mouth, and stylized horn ornamentation. Such masks are associated with masquerade traditions that embody bush spirits and animal forms important to community ceremonial life. A visually powerful example of West African tribal art displaying strong sculptural presence and striking graphic design. Dimensions: Measures ~28 in. x 35 in. 4.5 in. Condition: Carved wood construction with age-related surface wear, scattered losses and abrasion to painted decoration, particularly on the horn tips and upper facial area. Surface accretions, minor chips, scratches, and expected wear from age and handling. More

Mali: Early 20th century. Striking traditional Bamana (Bambara) puppet figure from Mali, carved in wood and retaining its original textile costume, fiber tassels, beads, and shell adornments. The figure features a finely stylized female face with white-painted eyes, bold scarification marks, a prominent ridge nose, and an elaborate multi-crested coiffure characteristic of Bamana artistic traditions. Constructed with a carved head, hands, and legs attached to a simple internal armature concealed beneath a loose cloth garment, the piece was likely created for village performance, storytelling, or festival puppet traditions rather than as a static sculpture. Extensive surface wear, pigment loss, and age-darkened textiles attest to long use and handling, lending the figure an authentic presence and appealing patina. Dimensions: Measures ~35 in. x 8 in. 6 in. Condition: Surface exhibits expected age-related wear, including abrasions, paint loss, accumulated dust, and handling marks throughout. Textile garment is heavily worn with discoloration, fraying, seam separation, and losses along the edges. Minor wear and losses to fiber tassels and bead adornments at the ears. Wood shows scattered scratches, abrasions, and pigment loss but remains structurally sound. More

A Fijian carved wood flesh fork, commonly known as a cannibal fork, with four tapering prongs, incised cylindrical handle, fluted terminal, and fiber cord attachment. The object displays a dark polished surface with geometric carving and sculptural form. Dimensions: Approximately 17.5 x 3 inches In Very Good condition. Light surface wear, scratches, minor losses, and cord fraying. There’s a small chip at the tip of one of the prongs. More

A carved wooden antelope sculpture with an elongated split muzzle, raised head, and two upright horn-like projections. Chiwara figures are associated with agricultural symbolism, fertility, cultivation, and communal prosperity. The antelope form traditionally relates to farming, discipline, and the life-giving power of the earth. Small pierced holes along the muzzle and ears likely served for attachment, decoration, or mounting. Dimensions: Approximately 29 x 16 x 3.5 inches with the stand In Very Good condition. Light surface wear throughout, including scratches, small losses, fine cracks around the forehead, and light residue. Mounted on a later black metal stand for display. More