Rare 1830s New Ireland Male Chalk Kulap Funerary Figure

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Indigenous Art - Ralph T. Coe Center, Santa F...

By Artemis Fine Arts

Aug 22, 2025

Set Reminder 2025-08-22 10:00:00 2025-08-22 10:00:00 America/New_York Bidsquare Bidsquare : Indigenous Art - Ralph T. Coe Center, Santa Fe, NM https://www.bidsquare.com/auctions/artemis-gallery/indigenous-art---ralph-t-coe-center-santa-fe-nm-20324
Featuring works of art from the Ralph T. Coe Center for the Arts in Santa Fe, New Mexico, a non-profit focused on promoting Indigenous Arts globally. All proceeds from the sale of these items will support future grants to Rehoming Program participants. Artemis Fine Arts info@artemisfinearts.com

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• Lot Description
  Oceania, Melanesia, Central New Ireland, ca. 1830s CE. A rare and finely preserved example of a New Ireland kulap funerary figure, carved from soft chalk limestone and enhanced with painted yellow and blue details. The standing male figure is rendered in a stylized, abstract form with rounded head, narrow shoulders, and simplified limbs that taper toward large, block-like feet. The pale white surface is enriched with finely incised facial features - arched brows over almond-shaped eyes, a long narrow nose, and a smiling mouth that conveys a composed, almost serene expression. Delicate blue and ochre pigment patterns articulate facial tattoo markings, a headband, and additional body ornamentation. He wears a pointed pubic covering, beneath which is clearly modeled a prominent phallus hanging between the legs - an unmistakable signifier of his male identity and, in a ritual context, a symbol of virility and continuity of life. Size: 4.2" L x 5.5" W x 19.9" H (10.7 cm x 14 cm x 50.5 cm); 21.8" H (55.4 cm) on included custom stand.
  
  His coiffure is carved as a textured cap, encircled by painted bands in blue and ochre, perhaps representing ceremonial bindings or a woven headdress.
  
  Kulap figures were central to the mortuary traditions of southern New Ireland in the 19th century. Produced exclusively in this region, they were made by specialist carvers living near the limestone quarries of the Rossel Mountains. When an important individual died, a male relative traveled to acquire a newly made kulap, its gender corresponding to the deceased. Upon return, the figure was placed in a men's ceremonial enclosure, often alongside other kulap figures, within a shrine dedicated to the dead. Only initiated men were permitted to view the kulap; women gathered outside the enclosure to mourn their loss.
  
  In these funerary rites, the kulap served as a temporary abode for the spirit of the deceased. Containing the soul within the figure was essential to prevent it from wandering the village and bringing harm to the living. The physical form stood as both a commemorative likeness and a spiritual safeguard, allowing the living to honor the dead while protecting themselves from spiritual danger.
  
  At the conclusion of the mourning period, the kulap was secretly removed by the men and traditionally destroyed - a symbolic act releasing the spirit to join the realm of the ancestors. In the colonial era, however, some were sold to Europeans, sparing them from destruction.
  
  The creation of kulap figures declined rapidly with the spread of Christianity in the early 20th century and had ceased by about 1910. This example, with its preserved pigments, strong male iconography, and complete form, stands as an extraordinary survivor of a now-vanished tradition - a testament to the artistry, funerary customs, and spiritual beliefs of New Ireland in the 19th century.
  
  Exhibited at the Wheelwright Museum of the American Indian in Santa Fe New Mexico as part of "Connoisseurship and Good Pie: Ted Coe and Collecting Native Art" organized by the Ralph T. Coe Foundation from July 2015 to April 2016, El Museo Cultural de Santa Fe in "The Ralph T. Coe Legacy 'Instruments of Passion'" from August 14th to 30th, 2013.
  
  Information about previous owner Leendert van Lier: "Leendert van Lier (1910 - 1995) Mr. Leendert van Lier was a charming blend of an artist, gentleman and art-dealer. He was quite a good painter and a passionate collector of art who succeeded in making a living from his hobbies. Although he dealt in all kind of beautiful things, he had a preference for modern and tribal art. He took up office with the 'Kunstzaal Van Lier' on the Rokin in Amsterdam in 1950, which was founded in 1927 and already internationally known before World War II. The owner, Mr. Carel van Lier, was no family of his but the reputation of the name was in his favour. He stayed in Amsterdam until 1955. From 1955 till 1961 he received his clients at his house in Utrecht. Next came a successful and pleasant period in the small town of Veere, Zeeland, that lasted till 1968. From 1968 until his death in 1995 he lived in Blaricum. Regular he went to his beloved Provence, France, to paint. There was always plenty of variety in his gallery. For example during the month of March 1951 one could enjoy an exhibition of paintings painted by the former Queen Wilhelmina of the Netherlands. In September of the same year there was the extremely avant-gardistic work of Karel Appel. Important Dutch artists like Jan Wiegers, Herman Kruyder and Jan Sluyters showed their paintings in 'Kunstzaal Van Lier'. He even had work from many famous European painters and sculptors in stock of whom he knew several personally. The other pillar of the gallery was the Tribal and Southeast Asian art, which was at least as important to him. His flawless taste and vast knowledge in these fields made every visit to his house a treat, every conversation an enrichment. Well-known Dutch collections, like those of Prof. dr. Th. van Baaren and Mr. Cees Meulendijk were built up largely by his intervention. He spent his last years at home surrounded by his exquisite collection. Only now and then he was willing to part from an object that was dear to him. When he was eighteen years old he bought his first object, a Batak wand. The last thing he sold as a man of nearly eighty-five was that same staff." (source: Hans Warren via Christie's Amsterdam "African Oceanic & Indonesian Art from Van Lier Collection, June 16 to April 15, 2010, Live Auction 2326)
  
  Provenance: Ralph T. Coe Center for the Arts, Santa Fe, New Mexico, USA, acquired via descent in 2010; ex-private collection of Ralph T. Coe, Santa Fe, New Mexico, USA, acquired in the 1950s; ex-Leendert van Lier (Dutch, 1910-1995) of Kunstzaal Van Lier and M L J Lemaire, Amsterdam, Netherlands
  
  All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
  
  A Certificate of Authenticity will accompany all winning bids.
  
  We ship worldwide and handle all shipping in-house for your convenience.
  
  #196344

  Condition

  Professionally repaired with repainting over break lines. Some minor nicks in areas and chipping with scuffs to proper right leg, but, otherwise, excellent presentation with good remains of painted detail. Old collection number inscribed on verso.
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