TRIBAL PEOPLE 132 few books, and relatively inexpensive. In short, ideal conditions for me to dedicate my time and passion. And why are they special? Simply because in their diversity and individuality, they offer the same pleasure I could derive from a beautiful African object or a fi ne modern painting. Plus there’s the satisfaction of having created a collection that is different, following a largely untrodden path. T. A. M.: As an inveterate collector, what advice do you have for today’s collectors, and how do you feel the future looks? L. L.: The future of primitive art, or rather the future of the market for it, seems to be ever FIG. 9 (above): Mask. Himachal Pradesh, India. Late 19th–early 20th century. Wood, pigment, leather. H: 29 cm. Photo: Pietro Notarianni. FIG. 10 (right): Mask. Nepal. Late 19th– early 20th century. Metal. H: 50 cm. Photo: Pietro Notarianni. more focused on the “high end,” that is, objects with great history, important pedigrees, and, subsequently, high prices. But having said that, the field is so enormous that I think there is ample room for less blazoned objects. There are less fashionable or niche objects that can feed the passion of collectors without huge financial means but with more open minds. A few bits of advice … I think the most important thing for a collector is to become cultivated by learning directly from the objects that intrigue them through looking at them, handling, studying, listening, feeling, and trying to understand them on many levels. One mustn’t forget that the object itself communicates, both through the artist’s intentions and its subsequent life history. Publications are also crucial and a good library is a fundamental tool. It is important not to feel rushed into buying. Start only when it feels right and choose with your gut and your heart, as well as your head. Listen to others whom you trust, but ultimately be an individual, since in the long run your acquisitions should refl ect your personality. And, in this vein, try not to be too rigid, and if, for example, you are forming a collection of African art but you fall in love with an Oceanic object, don’t worry. Buy it! The odd discrepancy isn’t a problem. But above all, be courageous and daring. If you realize that you have made a mistake—especially a bad buy, for whatever reason—don’t be discouraged or give up, as this happens to every collector at some point. In any case, just as you can buy something, you can also sell or trade it to someone who will appreciate it. As for couples who collect together, the rules of the game can be augmented. For example, never introduce an acquisition into your common home that has not been mutually agreed upon, as the surprise could be costly. And by the same rule, never buy an item that your partner doesn’t like, or it defi nitely will be costly! Rather, it is best to share one’s choices, fi rst, because it’s a pleasure and, second, because it will contribute to the harmony and good humor of the partnership and of the collection. Never underestimate your partner, even if you regard them as less expert than yourself. Often they have a great eye, even if it’s intuitive. Remember this and you won’t regret it.
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