African Art Collection Auction Ending 9/28

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HELMET MASK. Mende people, Sierra Leone. The smooth surface of this mask provides a dramatic contrast to the sharply carved braided hair and facial scarifications. Complex hair braiding is a mark of internal and external beauty among the Mende people. A white cloth would have been wrapped around the knobs on top of the mask. Two slender slits below the chin allow the wearer to see where she is going. Custom mount. H 15in. Wood, pigment. Exhibited Free Library Gallery Philadelphia 2012. Published in Rosen, Rosen 2013 p39 Fig 39.

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FACE MASK. Yaure people, Ivory Coast. This mask has the typical tri-lobed hairstyle, T-shaped nose, and serrated border of a Yaure mask that is worn during celebrations related to the visit of important persons to a village. H 16.5in. Wood, pigment. See Bacquart 1993 p41-42.

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CEREMONIAL SPOON. Dan people, Liberia. Visible wear and encrustation in the bowl attest to the considerable age and use of this spoon. Prized spoons such as this were given to a woman who was an outstanding farmer and provider of abundant food for her family and community. It was used for serving cooked rice and millet during celebratory feasts. The large breasts are a symbol of abundance. The hair is made from braided plant fibers. H 23.5in. Wood, pigment, encrustation, plant fibers. See Bacquart 1993 p38.

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ROD PUPPET. Nyamwezi people, Tanzania. An old puppet such as this was probably used in funerals as a medium for communicating with ancestors. Nails in the eyes and the metal cap would shine during nocturnal torch light ceremonies. The body is wrapped in cloth that holds fetish material in the front and back. On custom base. H 13.5in. Wood, cloth, rope, beads, metal.

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GOLDWEIGHTS (4). Ivory Coast/Ghana. Three square geometric forms (1-2in) and one fish (2.5in). Used to weigh gold on a balance scale. Brass.

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GUNYEYA FACE MASK. Dan people, Liberia. Characterized by a prominent, protruding forehead that occupies half of the face, large round eyes, prominent lips, and a triangular chin. Masks such as this were worn by men in races. H 9in. Wood, pigment. See Bacquart 1993 p36-37 and Rosen, Rosen 2013 p22-23.

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THROWING STICK. Ingesanna people, Sudan/Ethiopia. Throwing sticks were used for hunting, as weapons in war, and in some rituals. They are known to have been used since the Egyptian Middle Kingdom period (2050 BC-1652 BC). Wooden throwing sticks were ultimately supplanted by iron throwing blades. The blade of this stick was carved in the form of an animal head with engraved complex geometric designs. Because of their perishable nature and the abuse they receive when used, well preserved examples such as this are rare. H 21.5in. Wood, pigment.

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ABSTRACT BOGOLAN (MUD CLOTH) TEXTILE. Bamana people, Mali. Painted with pigments derived from plants and soil, this dramatic textile is composed of 8 hand woven cotton strips. The designs have symbolic significance L 69in. W 45in. Cotton, pigments.

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FACE MASK. Anang (Ibibio) people, Nigeria. The Y-shaped post at the top of this mask is probably a reference to the confluence of the Niger and Benue Rivers that define the geography of Nigeria. Together with the horse, this configuration is a reminder of the Nigerian coat of arms. The significance of the eye on the stem of the Y is not known. Facial designs represent traditional tattoos. A band of rubber from a bicycle inner tube was used to hold the mask in place and a costume was attached to nails around the sides of the mask. H 19.5in. Wood, paint, nails, rubber. Exhibited at Free Library Gallery Philadelphia 2012. Published in Rosen, Rosen 2013 p150 Fig 209.

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FACE MASK. Igbo (Ibo) people, Nigeria. Attached in the center of the coiffure of this old mask is a large snail (ejula) that is a delicacy as well as a symbol of femininity, flanked by small calabashes. When filled with plant material and other magical substances, the shell and calabashes became amulets to ward off evil spirits. H 8in. Wood, paint. Published in Rosen, Rosen 2013 p123 Fig 170.

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RELIQUARY GUARDIAN FIGURE. Shamye Kota people, Gabon. Reliquary figures of the Shamye tribe of the Kota people have the almond-shaped face seen in this example. Made of wood clad in copper sheeting and wire, these sculptures were placed on top of baskets containing the bones of Chiefs to guard them against harm. H 21.5in. Wood, copper, nails. See Bacquart 1998 p120-123.

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OKUY FACE MASK AND PASSPORT MASK. Punu people, Gabon. The Okuy mask of the Punu people is an idealized portrait of a favored female ancestor who returns as a guardian figure for a funeral or other important ceremony. The white pigment on the face refers to death and ancestors. Both masks have typical facial scarifications. The hair is divided into three lobes with the large central lobe split by a dramatic comb-like device. During performances, the masker towers above the audience on stilts. Mask H 13in. Passport mask H 7in. Wood, pigment. See Rosen, Rosen 2013 p164-169.

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JANUS HEAD CREST MASK. Temne people, Sierra Leone. This mask with the same face in the front and back and symmetrical coiffure was nailed to an armature that rested on the wearers head and shoulders. Nails used to attach it to the armature remain on the under surface where a hole in the center contained a rolled piece of paper inscribed with ritual text. Bust masks such as this were worn by men shrouded in fancy costumes during Jolly Society masquerades. The facial markings represent traditional tattoos. Feathers were put in the holes in the coiffure. H 13in. Wood, paint, mails. See Rosen, Rosen 2013 p64-65.

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WOMAN’S ASO OKE CEREMONIAL CLOTH. Yoruba people, Nigeria. This traditional cloth of 13 hand woven strips was made from cotton and glittering Japanese metalized Lurex plastic thread. The outside surface of the cloth is covered with warp float decorations. Gaps in the cloth were made by placing a weaver’s sword among the warp threads. The gaps allow for ventilation. L 71in W 43in. See Clarke 1997 p94-111.

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AVIAN GOLDWEIGHTS (4). Ivory Coast/Ghana. Rooster with spurs (2.75in) Stork (2.5in) Knot bird (2in) Hornbill with long neck (2.5in). The spiral motif on wings is symbolic of life and regeneration. The knot is symbolic of wisdom; on a bird it refers to state authority. Brass.

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NKONDI NAIL FETISH. Kongo people, Democratic Republic of Congo. The body of this sculpture wears powerful magical substances wrapped in cloth bundles called Nkissi. A box with a glass or mirror face on the abdomen has similar power. The force of these substances is activated when the owner of the sculpture or a ritual specialist (Ngang) hammers objects like nails into it. This very powerful Nkondi has glass eyes and he carries a spear in a clenched fist which he uses to attack and punish a person or spirit that has placed a curse on the owner. H 26.5in. Wood, nails, cloth, glass, rope, pigment. See Bacquart 1993 p128-133.

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PAIR OF CHI WARA HEADDRESS MASKS. Bamana people, Mali. These are fine, old female and male sculptures. They represent the mythical roan antelope which the Bamana people believe taught them how to farm. The female carries an infant antelope on her back and the body of the male displays complex open fretwork. Chi wara masks are worn on the top of the head attached to tight-fitting basket caps. They appear as male-female pairs during the planting season to strengthen the fertility of the soil and encourage a successful harvest. Female H 30in. Male H 32.5in. Wood, pigment, goat hair. See Rosen, Rosen 2013 p 94-95.

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WEAVING SWORDS (2) AND WEAVING NEEDLE. Yoruba people, Nigeria. All hand carved wood on custom bases. Swords used to separate warp threads. (A) Sword with large triangular key hole in handle. L 42in. (B) Sword with knob on handle end. L 34.5in. (C) Weaving needle used to insert weft threads between warp threads that have been separated by a sword. L 19.5in.

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THROWING KNIVES (2). Nbaka people, Democratic Republic of Congo. (A) Linear designs have been incised on one surface of this old weapon which was a prestige and ceremonial object not used in warfare. The leather wrapping on the handle has been lost. H 18in. Iron. (B) This old aerodynamically balanced blade with sharp edges and a wood handle was used as a weapon. The multiple points and blades were designed to inflict serious injuries. On custom base. H18in. Iron, wood. Exhibited at the Pen and Brush Gallery New York 2003.

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MAN’S KENTE WRAP. Ewe people, Ghana. This cloth consisting of 21 hand woven, hand sewn strips has about 9 figural supplementary weft designs (called “scriptures” in Ghana) per strip totaling nearly 200. There are at least 20 different “scriptures” including animals, hands, persons, birds, trees and symbolic abstract designs. The considerable age of the cloth is evidenced by the deterioration limited to brown warp stripes caused by interaction between the dye in the fibers and light. L 126in. W75in. Cotton.

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HEADRESTS (3). Although commonly referred to as “headrests”, these supports are actually positioned behind the recumbent person’s ear, largely supporting the base of the skull and neck. They were used to protect the elaborate coiffures in these tribes. (A) Turkana people, Kenya H 17in. Wood, leather thongs; (B) Arse people, Ethiopia H 7in. Wood; (C) Oromo people, Ethiopia 7in. Wood, pigment.

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SNAKE FETISHES (2). Lobi people, Burkina Faso, Ivory Coast. The Lobi people have used fetish objects or charms in the form of snakes for centuries, a custom that still flourishes. They are recommended by diviners to provide protection against evil spirits or to help in resolving problems. They are placed in personal or family altars. Snake fetishes with multiple heads are considered to be especially potent. On custom bases. Exhibited at the Pen and Brush Gallery, New York 2003. Straight snake 25in.; curved snake 22in. Hand forged from native smelted iron.

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FACE MASK. Temne people, Sierra Leone. This mask was worn at a Jolly Society celebration. It is part of an elaborate “fancy” costume that was attached to the mask with nails and was supported by a wire armature that is now folded inside the mask. The mask depicts a royal person but the intended message can only be known from songs and music at the performance. H 11in. Wood, paint, nails, wire. See Rosen, Rosen 2013 p.58-59.

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MAN’S WRAP. Ewe people, Ghana (Agotime region). This cloth consists of 19 hand sewn, hand woven strips. In contrast to the usual Ewe cloth (see Lot #20) with warp as well as weft designs, this example consists only of weft bands of varying width and color. Although several strips have the same weft designs, they are slightly offset so that the duplication is not apparent. This is a rare form of Ewe textile that may date from early in the 20th century. L 137in. W 76in. Cotton.

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GOLD WEIGHTS (4). Ivory Coast/Ghana. Three square (1.75in) one scorpion (3.5in). Brass.

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FEMALE DIVINATION PUPPET. Nyamwezi people, Tanzania. The arms are articulated at the shoulders with wooden pegs. She wears a seed amulet suspended by a cord around her neck. The metal plaque nailed to her upper abdomen shone brightly during nocturnal torch light ceremonies. The location of the plaque and the protruding abdomen suggest that she may have been a fertility fetish. Twisted pieces of rope have been inserted in her scalp to simulate hair. On custom base. H 20in. Wood, metal, string, seed. Exhibited at Pen and Brush Gallery New York 2005.

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SLIT GONG. Zombo people, Democratic Republic of Congo. The Zombo people are related to the Yaka and other tribes near Congo’s border with Angola. Slit gongs were used in this region by ritual diviners. They typically have a carved human head at one end. This exceptional example has 2 faces surmounted by a hornbill bird which is associated with ancestral spirits. The interior of the slit is coated with white kaolin pigment as an aid for communicating with ancestors. The drum stick is included. H 25in. Wood, pigment. See Bacquart 1993 p.184-185.

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GONGOLI MASK. Temne people, Sierra Leone. Gongoli is danced by a man acting as a clown wearing a disheveled raffia costume. He appears during women’s initiation ceremonies of the Sande and Bundu Societies. They serve as a comical antithesis to the finely featured Sowei helmet mask. Gongoli are varied but all have deliberately ugly masculine features with a large nose and ears, big mouth and in this case a beard and bald head. A piece of cloth that covered the wearer’s head is attached to the back. H17in. Wood, pigment, cloth. Exhibited at Free Library Gallery 2012. Published in Rosen, Rosen 2012 p.54-55 Fig 61.

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OLD WEST AFRICAN COPPER BRACELETS (3). Each is manilla-form with circumferential incised decorations and florette-like designs on one. Bracelets such as these were used for trade, adornment, and as a store of wealth. All originally bright copper-colored, but they now show obvious patina from age. Each on a custom base. (A) H 4in. (B) 3in. (C) 2.5in. Copper.

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BLOLO BLA FEMALE SPIRIT SPOUSE. Baule people, Ivory Coast. This statue was carved according to instructions from a diviner. It represents a man’s spouse in the spirit world, a figure who is consulted in dreams for help in solving personal problems. It is kept in the owner’s room as an altar. This statue has the carved base, typical short legs slightly bent at the knees, bulging eyes, and hands resting peacefully on the abdomen. H 17in. Wood, pigment. See Bacquart 1993 p.48-49.

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FEMALE HEAD CREST MASK. Temne people, Sierra Leone. This female bust was supported by an armature that rested on the wearer’s head and shoulders as he was enveloped in a fancy dress costume. As is true of most of these head crest busts, the green face is decorated with colored spots, in this case red, that contrast with the base color. The neck rings are considered a sign of good health and beauty. H 10.5in. Exhibited at Free Library Gallery 2012. Published in Rosen, Rosen 2013 p.64 Fig 75.

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STAR AND CROSS PENDANTS (5). Coptic Christian, Ethiopia. 1.5-2.75in. Silver/nickel alloy.

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WEDDING BLANKET. Bozo people, Mali. This cloth was collected from Alae, a 74-year-old weaver in Gyambe, a Bozo fishing village on an island in the middle of the Niger River near the town of Mopti. The cloth consists of 10 hand woven strips. L 103in. W 59in.

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ELU FACE MASK. Ogoni people, Nigeria. This mask has the articulated mandible with cane teeth, full lips, upturned nose, facial scarifications and narrow eyes of a typical Elu mask with an elaborate braided coiffure. Elu masks are often caricatures of members of the community who are depicted in masquerades about humorous, happy, and tragic events recorded in oral history, or recent events. H 9.5in. Wood, pigment, cane, string. See Rosen, Rosen 2013 p.108-117 for other examples.

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SEATED FERTILITY FIGURE. Ewe people, Ghana. The arms are articulated at the shoulders with nails. The right palm faces up to receive offerings and the left palm is turned inward. This figure was placed in an altar by a Voodun priest and consulted to assist women with fertility problems. H 17in. Wood, paint, nails.

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CEREMONIAL BELLS (2). West Africa. (A) This bell was made by welding two separate conical bells together. The junction serves as a handle. Bells such as this are found throughout West Africa where they are part of the musical accompaniment at various ceremonies and festivities. On custom base. H 14.5in. Iron. (B) Sickle-form ceremonial knife with bell in handle. Yoruba people, Nigeria. An identical sickle-form knife, attributed to the Yoruba people, was exhibited at the Museum of Natural History in New York City with the following description: “Bell form of sickle associated with Obatala, the deity who shapes the human form in the womb”. H 16.5in. Iron.

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GONG BEATER SCULPTURE. Bamum people, Cameroon. In addition to their use as musical instruments, gongs played an important role in regulating community life. The gong beater held a significant position in the royal court as the town crier. He would walk through the village beating the gong to announce the coming of the king so that women who should not see him could hide. He also announced royal decrees, important news, and the time. This figure with a wide open mouth depicts a royal gong beater in full-throated action. The way the pigment on the cheeks has been rubbed away suggests that this sculpture had a ceremonial role in which the cheeks were stroked, possibly to enhance the gong beater’s voice. There is more than one layer of pigment encrustation over the entire figure, some of which may have been libations. (See Lot 44 for related figure). H22in. Wood, pigment.

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38. CEREMONIAL PRESTIGE AX WITH SNAKE. Bamileke people, Cameroon. In many animistic societies, sprits residing in snakes were regarded as intermediaries between man and the ancestors. At the top of the staff, the stem of the ax blade has been inserted in the mouth of a human head symbolizing the owner’s important position in the community. This message is reinforced by the python slithering up the back of the shaft, holding the man’s head in its gaping mouth. The spiritual power of the snake is transferred from its mouth through the man’s mouth to the ax blade. On custom base. H 30in. Wood, iron.

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OLD WEST AFRICAN BRASS BRACELETS (3). (A) Large manilla-form bracelet with raised and grooved designs. H 3.5in. (B) Circular bracelet with fine engraved designs H 3in. (C) Manilla-form bracelet with zigzag designs. H 2.5in. Brass bracelets were used for trade, adornment, and as a store of wealth. Originally having a bright brass color, they now have a deep patina from age. Each on a custom base.

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FACE MASK. Anang (Ibibio) people, Nigeria. The arms of the female figure seated on top of this mask are articulated at the shoulders with nails. She has the same hair style with braids hanging on either side of the face as the mask. The mask is decorated with typical facial tattoo designs. Custom wall mount. H 18in. Wood, pigment, nails. See Rosen, Rosen 2013 p.147 Fig 205 for similar example.

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OLD CEREMONIAL BIRD-HEAD SICKLE BLADE STAFF. Mandara people, Cameroon. This bird-head blade with a blunt beak is a ceremonial form of throwing knife found in northern Cameroon. It is brandished by women dancing in festivals and at funerals. Curved in a cockscomb fashion, the blade merges with a straight, twisted shaft that terminates in a solid, conical handle. On custom mount. H 16in. Hand forged from native smelted iron. Exhibited at Pen and Brush Gallery New York 2003.

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BLACK ON BLACK ADINKRA MOURNING CLOTH. Asante people, Ghana. This fine cloth worn at funerals was collected in 2004 in Ntonso. In this instance, adinkra symbols were hand stamped with black dye on 13 strips of plain black cotton cloth. The strips were joined by machine using shiny strips of narrow black rayon ribbon. Two traditional symbols appear on alternate strips. The circular design is probably a variant of bi-nka-bi meaning “no one should bite another”, a symbol of justice and unity. The rectangular design with hooks is a form of dwennimmen or ram’s horns, a symbol for wisdom, strength, and learning. The most challenging part of the design is painting without drips the six parallel lines using a comb-like device that is dipped in the adinkra ink. L134in. W 85in. Cotton, adinkra ink.

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ROYAL CEREMONIAL NECK RING. Bamum people, Cameroon. Attached to a hand-forged iron ring are 12 miniature cast brass replicas of a Bamum mask surmounted by the fenestrated Bamum cap or mplet, an insignia of high rank or status. By wearing this neck ring, the King asserts his domination over men of the highest status in his court. Diameter 16in. Iron, brass.

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OLD WEST AFRICAN METAL STATUES (2). (A) This small cast brass Rodin-like figure was excavated near Djenne in northern Mali. It depicts an old man, possibly a slave, hunched over while carrying a heavy water pot on his back. Remnants of the red clay from which it was retrieved are firmly attached to it. On custom base. H 3.75in. Brass. (B) In addition to a gong beater (Lot 37), the Bamum royal court in Cameroon had horn blowers who also announced the coming of the King and other important events. This man using a large side-blown horn is wearing a loin cloth similar to that worn by the gong beater in Lot 37. He is wearing a pendant suspended from a double chain around his neck as a mark of royal approval. H 7.5in. Cast copper.

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WEST AFRICAN ARM RING AND BRACELETS (2). (A) Arm ring with 19 seated females around the perimeter representing the king’s wives. Bamum people, Cameroon. Diameter 6in. Cast brass. (B) Ring bracelet forged from native smelted iron. Excavated in the Bandiagara region. Dogon people, Mali. (C) Traditional manilla-form bracelet with three bells worn at ceremonial dances. Bells have stone clappers. Ivory Coast. Diameter 4in. Brass, stone.

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ANIMAL GOLD WEIGHTS (4). Ivory Coast/Ghana. Sitting giraffe (3in); Warthog (2in); Recumbent hyena (2.25in); Standing antelope (2.5in).

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OLD CEREMONIAL DANCE SKIRT AND DANCE SKIRT PANEL. Kuba people, Democratic Republic of Congo. (A) This dramatic skirt was made from three sections of hand woven raffia textile each of which has been subdivided into a pattern created with embroidered and cut pile designs to form repeated rows of 3 squares across from side to side. This is a very unusual pattern for a Kuba dance skirt, as is the exceptionally thick, almost bushy cut pile component and the use of starkly contrasting black, brown, and neutral cut pile fibers. Raffia balls are attached to the border. The cloth was entirely hand woven and hand sewn. L 81.5in W 24in. (B) The geometric designs in this example are predominantly triangles and diamonds created with the cut pile and embroidery techniques on a single sheet of hand woven raffia cloth. The design is broken up into eight contrasting rectangular sections. L 24in. W 23.5in. Raffia. See Clarke 1997 p. 46-56 for information about how Kuba textiles were made.

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ASAFO MILITIA FLAG. Fante people, Ghana. The Asafo Company that owned this flag identifies with the small, wily black duiker antelope that has outwitted and defeated a formidable rival Company represented by the captured, dead elephant (upside down) that has been suspended over a cooking pot. This highly insulting message expresses the proverb, “The lion (or elephant) is a fierce (or huge) beast, but it is the duiker that is the King of the bush”. The canton, the Ghana national flag with an asymmetric star, indicates that the flag was made after March 6, 1957, when Ghana became independent. Identical images are appliquéd on both sides. The figures are hand sewn. L 67in. W 45in. Cotton. Exhibited SMA Fathers Museum of African Art Tenafly NJ 2014. Published in “Emblems of Power. Asafo Flags from Ghana” available only from the authors at ppr2001@med.cornell.edu

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MALE ORACLE PUPPET. Nyamwezi people, Tanzania. Puppets like this were consulted and manipulated for guidance by diviners at times of stress and at funerals. This puppet is articulated at the shoulders and hips with cords. As is typical of many Nyamwezi figures, small beads have been inserted in the eyes. On custom base. H (standing) 19in. Wood, cord, beads.

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CEREMONIAL STAFF WITH FEMALE MWANA HITI FIGURE. Zaramo people, Tanzania. Mwana hiti means “daughter of the throne” but the figure may be referred to as male because of its phallic form. In this instance it was carved with female features including breasts and a protruding (?pregnant) abdomen. Mwana hiti frequently appears at female initiation ceremonies where girls are seated on the ancestral throne of the material family when they are presented to the community. Free standing, small doll-like Mwana hiti figures are much more common than figures such as this one on an iron ceremonial staff. On custom base. H17in. Wood, hand forged iron.