We wanted to share a few pictures of our first Tribal art exhibition in the Latin Quarter of Paris back in 2018. The artefacts presented then were; three classic African artefacts, five pre-Columbian statues, a 19 th century Mexican mask as well as two contemporary African art pieces. On this occasion, Saguaro Gallery had edited a catalogue presenting our collection along with pieces belonging to David Norden, famous Tribal art dealer based in Antwerp, Belgium.

Here is the presentation of the exhibition and an interview published in 2018:

The exhibition Shapes of Magic finds its origin in the meeting of two generations of Tribal art enthusiasts: David Norden, well-established Tribal art dealer in Antwerp and Raphaël Colombani Tribal art expert and graduate of the Ecole du Louvre in Paris. The exhibition showcases a selection of prestigious artefacts from private collections. Embark on a voyage through shapes and discover the rituals and history of the African and American continents. These artefacts bear witness of the civilisations that crafted them and give an insight on the extent of their imagination.

How long have you been in relation with Tribal art?

My passion for Tribal art goes back to childhood. I was lucky enough to travel to Africa and America as a child, and my passion comes from the fascination produced by the ethnic groups that produced this art. My first aesthetic shock was probably the mural paintings of the Ndebele on the high plateau of Transvaal, South Africa. I was about 6 years old and I clearly remember being amazed by the beauty of the people and their art.

As a collector, is there a first artefact that spurred your passion?

In my case, passion came not in the form of a particular artefact but through a group of artefacts that I first saw in the Pavillon des Sessions, in the Louvre museum while studying in the Ecole du Louvre. After seeing and studying a number of artefacts from ancient civilisations, discovering these masterpieces of Tribal art came as a real revelation, a truly magic moment. I remember leaving the showroom full of energy and with the curiosity to know more about these pieces and the ethnic groups they belong to.

What about the first piece you purchased?

I bought my first piece in an auction sale; it’s a Peruvian Vicus stirrup vase that I have preciously kept to this day.

Is there a particular artefact you would particularly like to acquire?

I dream of acquiring a beautiful Jaina island statuette from Mexico. But authentic pieces are rare, and if I found one I’m not sure I could part with it.

What is the value of the artefacts you sell?

As much as possible, I try selling pieces that truly amaze me and that I could keep in my personal collection. Like other collectors I look for artefacts with a story, the context of its creation and the course it took largely contribute to the value of the piece. Aesthetics are important but personal taste varies widely from a person to another so I believe it’s the “magic” the object carries that makes its value.

Which personalities have inspired you in the Tribal art market?

I’ve had the opportunity to meet different generations of art dealers and collectors in France and Belgium; I enjoy listening to their anecdotes and personal stories, and learn through their experiences. David Norden has taught me many things; I’m also close to Dimitri André, a central figure in this domain, but also the famous expert Serge Reynes. Above all, I’m really happy to see my generation is today entering this Tribal art world with passion.

How do you see the future of the Tribal and African art market?

I have the feeling the market is in a transition period, with a clear generation change, with dealers trying to find a new generation of collectors. The Asian market is growing but it’s a little early to see if these collectors will be investing in pre-Columbian or African art. The acknowledgement these last ten years of Modern and Contemporary African art is very positive and could lead collectors to rediscover Classical African arts. The part played by museums and cultural institutions is essential in the acknowledgement of these ethnic groups, and the role played by the Quai Branly museum is remarkable in bringing new visitors to these arts. I’m also enthusiastic about the opening of museums on the African continent such as the Museum of Black Civilisations in Dakar, Senegal.

The exhibition was a success with artefacts going to prestigious collections such as Hunting Scene (ca. 1960, Oil on paper, 35 x 45 cm) by Congolese painter Mwenze Kibwanga acquired by Pierre Loos.

Or this rare Janus Guardian Head of the Kedie family presented by Sotheby’s in New York joining the collection of a famous Parisian editor.