Native Auctions

NATIVE AUCTIONS is an auction house based in Brussels, Belgium.

NATIVE AUCTIONS is the first Belgian auction house specialised in Tribal Art. Through its history, Belgium -and especially Brussels - has a long tradition in the African and Oceanic art market. The auction house was launched following strong demand from Belgian and international collectors.

NATIVE AUCTIONS holds traditional and online sales.

The two specialists Nicolas Paszukiewiczs and Sebastien Hauwaert both worked in European auction houses and have strong experiences of the Tribal Art market.

  • Belgium
Objects "Native Auctions"

Dogon Mask

Hélène Leloup, who sold this rare and important mask to Fritz Koenig in the 1960’s, believes that at the most four examples of this mask are in existence. Mrs Leloup also assumes that due the expulsion of the residing Dogon in the Saruyere Mountains by the French troops in 1921, the group of masks reached already Paris in the beginning of the 1920’s where they were dispersed into different collections. One comparable mask was acquired by Josef Mueller for his collection before 1942. (African Masks from the Barbier-Mueller Collection, Munich/New York, 1997, cat. and ill. n°19, p. 242). A Further example was owned by Pierre Harte, Paris (A. Pilot, G. Calame-Griaule, F. NDiaye, masques du Pays Dogon, Paris, 2001), Hélène Leloup qui a vendu ce rare masque à Fritz Koenig dans les années 60, pense qu’il n’existe au plus quatre exemplaires de ce type. Mme Leloup présume que suite à l’expulsion des Dogon habitant les Monts Saruyere par les troupes Françaises en 1921, le groupe de masques avait déjà atteint Paris dans les années 1920 où ils furent dispersés dans différentes collections. Un masque semblable fut acquis par Josef Mueller pour sa collection en 1942 à Paris (African Masks from the Barbier-Mueller Collection, Munich/New York, 1997, cat. and ill. n°19, p. 242). Un autre était en possession de Pierre Harter à Paris (A. Pilot, G. Calame-Griaule, F. NDiaye, masques du Pays Dogon, Paris, 2001)Read more

  • BELBelgium
  • 17d 0h


In the late sixties, Jacques Kerchache, Philippe Guimiot, Alain Dufour, Lucien Van de Velde and others brought back from Nigeria the rst cluster, seen by the occidental market, of what will be called the Mumuye figures. They've been a major source of wonder and imagination and the creativity of the mumuye artists has been celebrated ever since in every major institutional and private collections. During his visits to the British Museum between 1922 and 1924, Henry Moore sketched, among some works catching his eyes, a powerful wooden gure brought back from Nigeria by the Captain E S Lilley in 1921 and donated to the Museum in 1922. This gure can be compared in many points to the gure presented here. The composition of the face with this large T-shaped nose, the deeply carved round eyes, the mouth,... are features shared by the two gures, even the slight head tilt giving the dynamic attitude to the gures. The compositions of the bodies are different. While the British Museum gure has compressed proportions, the presented gure is more hieratic and powerful. This difference could be explained by the different gender of the gures but also mainly by their respective sizes (48 and 80 cm). Even if the result of a scienti c analysis has to be interpreted with a lot of care, we requested a C14 test for this gure. All the signals date the death of the wood used to carved the sculpture before 1910. This estimated creation date corroborates that the presented gure and the British Museum gure have been carved at the same time but also and probably by the same artist or workshop. From the early discovery of a artwork of its type in 1921 to its own discovery in the late 1960's, we stand, with this Mumuye gure, with a rare and powerful witness of the two major events in the discovery of one of the major artistic culturesRead more

  • BELBelgium
  • 17d 0h

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