HIMALAYAN MASKS DONATION MARC PETIT

HIMALAYAN MASKS DONATION MARC PETIT

 

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MUSEE DU QUAI BRANLY

DANS LE BLANC DES YEUX

MASQUES PRIMITIFS DU NEPAL

EXHIBITION

PARIS

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***

*

 

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ethnoflorence

2012

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NEGERPLASTIK CARL EINSTEIN LE SOURCES DE L’ART PREMIER

L’AVENTURE DES ARTS PREMIERS

L’évolution d’un regard

*

LE SOURCES

*

IV

***

EN ROUTE VERS LE LOUVRE

Enquête des Arts lointains: Seront-ils admis au Louvre?

Felix Feneon

1920  

“Lorsque le musée du Louvre recevrà l’art nègre, il y trouvera non son complément, mais son principe”

 Lucie Cousturier, peintre et escrivain, 1920

see more on  

http://ethnoflorence.skynetblogs.be/archive/2012/07/19/enquete-des-arts-lointains-seront-ils-admis-au-louvre-felix.html

*****

ALFRED STIEGLITZ

Galerie

291

1916

TEXT BY

M.DE ZAYAS

“Modern art is not individualistic and esoteric and even less an expression of a spontaneus generation.” 

SEE MORE 

ON

http://ethnoflorence.skynetblogs.be/archive/2012/07/20/alfred-stieglitz-galerie-291-m-de-zayas-1916-arte-negra.html

****

ROGER FRY

SCULPTURE NEGRE

VISION AND DESIGN

1920

 

Ce qui distingue pour Fyes la sculpture africaine de la tradition occidentale est sa  “complete plastic freedom,” 

 

et la possibilité de créer “forms in three dimensions”  SEE MORE ON  

http://ethnoflorence.skynetblogs.be/archive/2012/07/20/roger-fry-sculpture-negre-vision-and-design-1920.html

*******

CARL EINSTEIN

NEGERPLASTIK

1915

Negerplastik

est

l’un des premier lien entre l’art nègre et le mouvements de l’art moderne.

 

L’auteur fut le premier à présenter la sculpture traditionnelle africaine en termes esthétiques, par opposition à  le artefacts ethnographique, postulant une façon de voir l’espace :   “plastiches Sehen” qui aborde les problèmes du cubisme. 

 

Ce n’est pas une histoire de la sculpture africaine car elle ignore les peuples qui ont fait des sculptures.

 

Einstein adhéré à la théorie que la sculpture “parlé” directement au spectateur et ne nécessitent donc pas

informations de fond.

 

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PHOTO CREDIT OF

http://www.archive. org

http://archive.org/details/negerplastik00einsuoft

***
**

ROGER FRY NEGRO SCULPTURE VISION AND DESIGN 1920

L’AVENTURE DES ARTS PREMIERS

 

LE SOURCES

III

 

*

 

EN ROUTE VERS LE LOUVRE

 

*

 

Enquête des Arts lointains: Seront-ils admis au Louvre?

 

Felix Feneon

 

1920

 

see more on

http://ethnoflorence.skynetblogs.be/archive/2012/07/19/enquete-des-arts-lointains-seront-ils-admis-au-louvre-felix.html

 

***

ALFRED STIEGLITZ

 

Galerie

 

291

 

1916

 

TEXT BY

 

M.DE ZAYAS

 

SEE more on 

http://ethnoflorence.skynetblogs.be/archive/2012/07/20/alfred-stieglitz-galerie-291-m-de-zayas-1916-arte-negra.html

 

***

ROGER FRY SCULPTURE NEGRE VISION AND DESIGN 1920

 

Dans l ‘enquête de Félix Fénéon “Enquête des Arts lointains: Seront-ils admis au Louvre?”  Paul Guillaume répond

 “…J’espere venir a bout d’un ouvrage important pour lequel je me recuille…” (pag 695).

 

Le projet d’élaborer un travail plus détaillé que celui de 1917 en collaboration avec Apollinaire 

(Sculptures Nègres: 24 photographies précédées d’un avertissement de Guillaume Apollinaire et d’un exposé 

de Paul Guillaume.). 

 

En 1923, Albert  Barnes contact Paul Guillaume , à qui il a acheté sa collection d’art africain pour l’amener à 

collaborer à la création d’un catalogue  consacrée à l’art nègre sur la base de l'”systematic” method of aesthetic 

analysis ‘ 

 

Le catalogue sera Primitive Negro Art, 1926.

 

Parmi les auteurs qui avaient déjà commencé à dessiner très peu de raisonnement esthétique, dans ce contexte pourraient 

inclure Carl Einstein: Negerplastik, peut-être la enquête de Feneon, presque certainement un petit texte de Roger Fry.

 

Chez la galerie de Guillaume,Albert Barnes s’est réuni et a discuté de l’Art Negre et contemporaine avec Roger Fry, 

personnalité  très important pour la peinture française, et ami de Cézanne.

 

En Avril 1920 Fry avec Virginia Woolf visité une petite exposition de sculpture africaine au Club du livre de Chelsea

à Londres, Fry s’inspirant de ca pour un court essai, publié dans un magazine local, et peu de temps après dans son 

livre Vision and Design, intitulé sculpture nègre .

 

Ce qui distingue pour Fyes la sculpture africaine de la tradition occidentale est sa  “complete plastic freedom,” 

et la possibilité de créer “forms in three dimensions”.

 

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http://archive.org/index.php

§§§

§§

§

 

Alfred Stieglitz galerie 291 M. De Zayas 1916 Arte Negra

L’AVENTURE DES ARTS PREMIERS

L’évolution d’un regard

*

LE SOURCES

II

*

EN ROUTE VERS LE LOUVRE

 

Enquête des Arts lointains: Seront-ils admis au Louvre?

Felix Feneon

1920

see more on

http://ethnoflorence.skynetblogs.be/archive/2012/07/19/enquete-des-arts-lointains-seront-ils-admis-au-louvre-felix.html

***

**

*

ALFRED STIEGLITZ

Galerie

291

1916

TEXT BY

M.DE ZAYAS

Modern art is not individualistic and esoteric and even less an expression of a spontaneus generation.

It shows itself more and more frankly an art of DISCOVERIES.

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Modern art is not based on direct plastic phenomena, but on epiphenomena, on transposition and on existing

evolutions.

In its plastic research modern art discovered Negro Art.

Picasso was its discoverer.

He introduced into European art, throug his own work,the plastic principles of negro art, the point of departure 

for our abstract representation.

Negro art has had thus a direct influence on our comprehension of form, teaching us to see and feel in purely expressive  side and opening our eyes to a new world of plastic sensations.

Negro art hs re awakened in us a sensibility obliterated by an education, which makes us always connect what we seen with what we know, our visualization with our knowledge, and makes us, in regard to form, use our intellect more than our sense.

It through European art, we have acquired the comprehension of form, from naturalistic point of view, arriving at mechanical  representation, Negro art has made us discover the possibility of giving plastic expression to the sensation  produced by the outer life, and consequently,also the possibility of finding new forms to espress our inner life.

Negro art product of the ‘land of fright’, reated by a mentality full of lear, and completely devoid of the faculties of observaton and analysis,is the pure expression of the emotions of a slave race, victim of nature, who see the outer world only under its most intensely expressive aspect anf not under its natuaral one.

The introduction of the plastic principles of African art into our European art does not constitute  a retrogradation or a 

decadence, for through them we have realized the possibility of expressing ourselves plastically without the recurrance of direct imitation of fanciful symbolism.

M. DE ZAYAS

§§§

§§

§

 

Enquête des Arts lointains: Seront-ils admis au Louvre? Felix Feneon 1920

L’AVENTURE DES ARTS PREMIERS

LE SOURCES

*

EN ROUTE VERS LE LOUVRE

*

Enquête des Arts lointains: Seront-ils admis au Louvre?

Felix Feneon

1920

*

En 1920 le critique Felix Feneon fait une enquete sur les ‘arts lontaine’, qui sera publiée dans le Bullettin de la vie Artistique.

A la fois l’éscrivain Guillaume Apollinaire fait campagne en faveur des “chefs-d’oeuvre exotiques” militant pour leur entrée au Louvre.

*

L’enquête s’inscrit dans le cadre de la genèse de deux mouvements historiques, qui combine la naissance de la discipline anthropologique  et la découverte de l’arte negre par les artistes, peintres et sculpteurs occidentaux.

*

“Lorsque le musée du Louvre recevrà l’art nègre, il y trouvera non son complément, mais son principe”

(Lucie Cousturier, peintre et escrivain, 1920)

*

 

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http://archive.org/details/lebulletindelavi22pariuoft

http://www.archive.org

***
**

 

AFFINITÉS DANS LE MONDE DES ARTS TRIBAL

ARCHÉTYPES

AFFINITÉS DANS LE MONDE

DES

ARTS  TRIBAL 

*

ARCHETIPI

AFFINITA’ NEL MONDO 

DELLE

ARTI TRIBALI

UNA RICERCA ICONOGRAFICA

SETTIMANALE

*

ARCHETYPES

AFFINITIES IN THE WORLD OF THE TRIBAL ARTS

AN ARCHETYPAL

WEEKLY

RESEARCHE

1

 

1920.jpg

In the introduction to the catalog of 1984

‘Primitivism in 20th Century Art’,

William Rubin speaks of the influences 

and affinities between ‘primitivism’ and  ‘modernism’.

An interesting research.

In the catalog of Rubin,

obviously,

are not mentioned works from the Himalayan region,

paradoxically,

the first examples of these arts,

documented photographically by Tucci in the early  50’s,

began to appear on the market of Kathmandu 

just in the 80’s

 

7258145710_28b6dc8911_o.jpg

7258054434_68c61dfe0f_o.jpg

In 1984 the Museum of Modern Art celebrated with a big show the interconnection between primitive plastic art and modern and 

contemporary art.

 

In 1984 no one knew what it was for example an archaic figure  of the nepalese  Humla district.

 

I doubt few even today.

 

7258144326_d9451a166a_o.jpg

A correlation, an influence or affinity with the avant-gardist art world in Europe or,

and with the spread of modernism in North America is clearly not possible.

Two historical circumstances that contributed, however, to the knowledge of the arts of non-European cultures one century ago.

 

 

00cover.jpg

 

What I would try to document from today, is any similarity, affinity in style between the popular arts of the Himalayas regions and the most quoted and studied and celebrated the primitive arts.

Outside of a standardized iconography, the Himalayan objects appeared between 1980 and 2000 to show an originality that makes them often… 

unique.

The same thing had happened probably for the first Africans items arrived in Europe.

An example.

In 1906 appeared the so called Fang Derain mask in Paris, according Rubin a ‘strictly mediocre’ item, but with a quite realistic style, something that liked and contribuited to its rapid ‘assimilation and popularity’.

The item, by the way, was immediately replicated ‘en série’,  there is an half dozen of masks virtually identical with  the Vlaminck/Derain mask, the Museum of Fine Arts, Columbus, Ohio,mistakenly, published it’s example as ‘the’ original one…. another copy is in the colletion of the Ethografisch Museum in Antwerpen. 

That’s only an example, what is really important to outline is that while item like these mask were standardized as sale items, some element of the standardization entered, very probably, even in the items for cult purposes.

A sort of double influence, at the end.

For this reason I’ll try to find affinites only with items, that are reputated’sure’ and not ‘contaminated’ from a stilistic point of view.

I would like to start today with a very unusual Congo (?) figure

 

046.jpg

 

 The item was attested in the 1913 in the Brummer Collection,

Paris

than from 1921 in The Philadelphia University Collection,

it was edited for the first time in the  

November 1913 on Umelecky Mesicnik,Vol. I-III,

than in

1915 by Carl Einstein on Negerplastik,

and in  1920 by   Hall, H.U. on “Fetish Figures of Equatorial Africa.” The Museum Journal, Vol. XI, No. 1 (March).

 

1915 CARL EINSTEIN.jpg

The exact context of provenance  it’s unknown

(According the Ross Archive :Artiste Teke? W. Fagg; Hugana? E. Herold)

What is interesting for our researche it’s the

affinity

of the frontal posture of this sculpture with the more classical

‘namaste’

posture of  some of the  nepalese so called primitive figure. 

A similar iconographic element

within

very different stilistic traditions ,

plastic memory

of

the universal archetypes?

 

***

**

*

AFFINITIES IN THE WORLD OF THE TRIBAL ARTS AN ARCHETYPAL WEEKLY RESEARCHE 1

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

2008 – 2016

***************************************

AFFINITIES IN THE WORLD OF THE TRIBAL ARTS

AN ARCHETYPAL

WEEKLY

RESEARCHE

1

 

1920.jpg

In the introduction to the catalog of 1984

‘Primitivism in 20th Century Art’,

William Rubin speaks of the influences 

and affinities between ‘primitivism’ and  ‘modernism’.

An interesting research.

In the catalog of Rubin,

obviously,

are not mentioned works from the Himalayan region,

paradoxically,

the first examples of these arts,

documented photographically by Tucci in the early  50’s,

began to appear on the market of Kathmandu 

just in the 80’s

 

7258145710_28b6dc8911_o.jpg

7258054434_68c61dfe0f_o.jpg

In 1984 the Museum of Modern Art celebrated with a big show the interconnection between primitive plastic art and modern and 

contemporary art.

 

In 1984 no one knew what it was for example an archaic figure  of the nepalese  Humla district.

 

I doubt few even today.

 

7258144326_d9451a166a_o.jpg

A correlation, an influence or affinity with the avant-gardist art world in Europe or,

and with the spread of modernism in North America is clearly not possible.

Two historical circumstances that contributed, however, to the knowledge of the arts of non-European cultures one century ago.

 

 

00cover.jpg

 

What I would try to document from today, is any similarity, affinity in style between the popular arts of the Himalayas regions and the most quoted and studied and celebrated the primitive arts.

Outside of a standardized iconography, the Himalayan objects appeared between 1980 and 2000 to show an originality that makes them often… 

unique.

The same thing had happened probably for the first Africans items arrived in Europe.

An example.

In 1906 appeared the so called Fang Derain mask in Paris, according Rubin a ‘strictly mediocre’ item, but with a quite realistic style, something that liked and contribuited to its rapid ‘assimilation and popularity’.

The item, by the way, was immediately replicated ‘en série’,  there is an half dozen of masks virtually identical with  the Vlaminck/Derain mask, the Museum of Fine Arts, Columbus, Ohio,mistakenly, published it’s example as ‘the’ original one…. another copy is in the colletion of the Ethografisch Museum in Antwerpen. 

That’s only an example, what is really important to outline is that while item like these mask were standardized as sale items, some element of the standardization entered, very probably, even in the items for cult purposes.

A sort of double influence, at the end.

For this reason I’ll try to find affinites only with items, that are reputated’sure’ and not ‘contaminated’ from a stilistic point of view.

I would like to start today with a very unusual Congo (?) figure

 

046.jpg

 

 The item was attested in the 1913 in the Brummer Collection,

Paris

than from 1921 in The Philadelphia University Collection,

it was edited for the first time in the  

November 1913 on Umelecky Mesicnik,Vol. I-III,

than in

1915 by Carl Einstein on Negerplastik,

and in  1920 by   Hall, H.U. on “Fetish Figures of Equatorial Africa.” The Museum Journal, Vol. XI, No. 1 (March).

 

1915 CARL EINSTEIN.jpg

The exact context of provenance  it’s unknown

(According the Ross Archive :Artiste Teke? W. Fagg; Hugana? E. Herold)

What is interesting for our researche it’s the

affinity

of the frontal posture of this sculpture with the more classical

‘namaste’

posture of  some of the  nepalese so called primitive figure. 

A similar iconographic element

within

very different stilistic traditions ,

plastic memory

of

the universal archetypes?

 

***

**

*

WALKING ON THE ROADS OF WESTERN NEPAL IV HIMALAYAN TRIBAL ART NEPAL MASK

ETHNOFLORENCE

INDIAN AND HIMALAYAN FOLK AND TRIBAL ARTS

dyn002_original_512_384_pjpeg_2638188_f38bb67d05252274480e83372f55f606.jpg

2008 2016

******************************

-HIMALAYA ET SES SOURCES

ART TRIBAL ET CLASSIQUE

 

01

DIMANCHE 30 MAI 2000

VENTE A L’ATELIER RICHELIEU – 75002 PARIS

COMMISSAIRE-PRISEUR HABILITEE: NATHALIE MANGEOT

EXPERT: FRANCOIS PANNIER

72 GAIA 2009 THARU.jpg

http://www.gaiaauction.com/upload/fichiers/12669393704bdff3d81914e.pdf

-GAIA S.A.S. MAISON DE VENTES AUX ENCHERES PUBLIQUES, 43 RUE DU TREVISE – 75009 PARIS
TEL 33 (0) 1 44 83 85 00
FAX 33(0) 1 44 83 85 01
E-mail  gaia@gaiaauction.comwww.gaiaauction.com

**************************************

KATMANDU SHRINES PART I

Photo kindly courtesy of  Moj Gan

 03

 See More on:

http://ethnoflorence.skynetblogs.be/post/7884577/katmandu-shrines-indian-and-himalayan-musical

*****************

KHENIS GHOST EATERS FIGURE

 IN  KAGBENI VILLAGE, NEPAL.

 04

 See More on:

http://ethnoflorence.skynetblogs.be/post/7842348/khenis-ghost-eaters-figure-in–kagbeni-villag

**************

-WESTERN NEPAL, THE  ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC  LIVING TRADITION I

Photo courtesy of Jean Claud Latombe

 05

 See more on  http://ethnoflorence.skynetblogs.be/post/7701713/western-nepal-the–archetipic-iconography-of

*************

-WESTERN NEPAL, THE ARCHETYPIC  ICONOGRAPHY  OF AN ARTISTIC LIVING  TRADITION  PART II

Photo courtesy of   Reto Niederhauser

06 

See more on http://ethnoflorence.skynetblogs.be/post/7716824/western-nepal-the-archetypic–iconography–of

*******************

-WESTERN NEPAL, THE  ARCHETYPIC ICONOGRAPHY OF AN ARTISTIC  LIVING TRADITION III

Photo courtesy of  Paulo Grobel

07

See more on http://ethnoflorence.skynetblogs.be/post/7824367/autres-maitres-de-linde-creations-contemporain

**********************

-WALKING ON THE ROAD OF WESTERN NEPAL I

Photo courtesy of  PARLERDELLES OVERBLOG

08

See more on  http://ethnoflorence.skynetblogs.be/post/7709872/walking-on-the-roads-of-the-western-nepal-hum

***************************

-WALKING ON THE ROADS OF THE WESTERN NEPAL II

09

See more on:
http://ethnoflorence.skynetblogs.be/post/7721880/giuseppe-tucci-nepal-alla-scoperta-dei-malla

******************

-WALKING ON THE ROADS OF THE WESTERN NEPAL III

010

See more on:

http://ethnoflorence.skynetblogs.be/post/7842348/khenis-ghost-eaters-figure-in–kagbeni-villag

********************

-MASQUES & ARTS TRIBAUX HIMALAYENS, 2007 Exhibition of the Galerie le Toit du Monde in Paris at Salon du Vieux Colombier
Galerie Le Toit Du Monde 6, rue Visconti – 75006 Paris Tél/Fax : 01 43 54 27 05 / contact@letoitdumonde.net
http://www.letoitdumonde.net/

Photo courtesy of  SANZA ART PREMIERS  BRUXELLES  http://sanza.skynetblogs.be

011

012 bis

012

 

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014

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016

Photo courtesy of  SANZA ART PREMIERS  BRUXELLES  http://sanza.skynetblogs.be

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NEPALESE FIGURE

(Inventory no 

 

017

NEPALESE FIGURE

(Inventory no 16)

018

NEPALESE FIGURE

(Inventory no 17)

019

NEPALESE FIGURE

(Inventory no 18)

020

NEPALESE FIGURE

(Inventory no 19)


021

 Ethnoflorence Himalayan photo archive.

********************************

-NEPAL. SHAMANISM AND TRIBAL SCULPTURE
MARC PETIT, CHRISTIAN LEQUINDRE

031

ABOUT THE AUTHORS OF THE BOOK:

-MARC PETIT

 

Writer and collector, he has donated a collection of masks from Nepal to the Musée des Arts Premiers Quai Branly, Paris.

Among his books:

– « A Masque découvert, regards sur les arts primitifs de l’Himalaya », Stock Aldines, 1995.

– « La Statuaire archaïque du Népal occidental », Renaud Vanuxem, 2006.

-« Le Masque de la Chine », Musée Jacquemart André, Actes Sud, 2007.

-CHRISTIAN LEQUINDRE

Photographer and collector, he has been resident in Nepal since the 1980s.

He carried out multiple field studies between 1995 and 2005 and produced three documentaries on different masks traditions in Nepal.

He has also directed the Annapurna Gallery in Paris from 1989 to 1995.

He has, recently, started to edit the web site NEPAL TRIBAL ART  www.nepaltribalart.com

032

033

034

Photo Courtesy Of Christian  Lequindre

*****************************

-MASQUES QUI ETES VOUS?

ABBAYE SAINT GERARD DE BROGNE

12 JANVIER – 14 AVRIL 2002

Photo courtesy of Sanza Arts Premiers Bruxelles

http://sanza.skynetblogs.be

035

036

038

 

Photo courtesy of Sanza Arts Premiers Bruxelles

http://sanza.skynetblogs.be

*************************

MASKS OF THE HIMALAYAS

A personal point of view

 

022

MASK

(Inventory no 164)

023

Mask

(Inventory no 41)

024

MASK

(Inventory no 45)


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MASK

(Inventory no 36)

 

26

MASK

(Inventory no 28)

1.JPG

MASK

(Inventory no 12)

029

MASK

(Invemtory no 18)

030 bis

MASK

(Inventory no 10)

 

030

Ethnoflorence Himalayan photo archive

**************************************

ARTS OF THE HIMALAYAS

OLD FEATURE

57

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WALKING ON THE ROADS OF WESTERN NEPAL IV

PHOTO  CREDIT TIM GALLAUGHER  

 http://picasaweb.google.com/tim.gallaugher

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PHOTO  CREDIT TIM GALLAUGHER

http://picasaweb.google.com/tim.gallaugher

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ART OF THE HIMALAYAS

THE CATALOGUES

-ENIGMAS DE LA MONTANAS, MASCARAS TRIBALES DEL HIMALAYA.
ENIGMES DES MONTAGNES, MASQUES TRIBAUX DE L’HIMALAYA.

58

The late Gustavo Gili was a friend and a passionate collector of Himalayan masks of Barcelona, in this catalogue, curated by Francois Pannier was edited a part of his collection.

First to collect Himalan art Gustavo Gili put toghether an important and selected collection devoted to the traditional arts of Africa.

The passion for the masks of the Himalayas begun in Gustavo after to have bought his first piece, the mask n1 of the catalogue, a sort of Frankestein item displaying a lot of ancient restaurations.

This remarkable piece, was also edited in the 1989 pivotal catalogue curated by  Francois Pannier and Stephane Mangin:  Masques de l’Himalaya. Du primitif au classique (at that time the mask was in another private collection of Barcelona) and exhibited in the 1991 exhibition at Musee de la Castre of Cannes.

Enigmas de la Montanas is a catalogue that reflects the sophisticate taste of Gustavo, an important catalogue to understand the still ‘hidden and unknown’ arts of the Himalayas.

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HIMALAYAN MASKS

BACK SIDES

ETHNOFLORENCE A PERSONAL POINT OF VIEW

MASK

(Inventory no 1)

045

 MASK 

(Inventory no 5)

 

046

MASK

(Inventory no 6)

047

MASK

(Inventory no 9)

048

MASK

(Inventory no 10)

049

MASK

(Inventory no 30)

051

MASK

(Inventory no 33)

053

MASK

(Inventory no 69)

055

Ethnoflorence Himalayan photo archive

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