African Art Auction Ending 4/9

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CEREMONIAL AKUNINTAN (“OHENE AKUNINTOMA”) CLOTH. Ashanti people, Ghana. This very rare textile belonged to the wife of a Paramount Chief. A number of towns and villages report to a Paramount Chief who in turn reports to the King. Among the embroidered symbols representing the authority of the wearer is that of the Sankofa bird who has a habit of repeatedly looking over its back. It symbolizes wisdom gained from past experience. The grid pattern of the designs is typical for an Akunintan textile. This cloth was created by a master of this embroidery technique, Opanin Akwasi Bamieh in Kumasi, the Ashanti capital city. It is in excellent museum quality condition despite an estimated age of at least 50 years when it was collected in 2005 in Kumasi. Exhibited at the Pen and Brush Gallery New York 2006. Black felt textile with embroidered multicolored designs. 100in x 55in.

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Pair of African art statues, one tagged "Bamileue, Cameroon", approx 10.5"T.

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African art statue of man with detailed carved decoration, 31.5"T.

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This rod puppet head of Dankalankule , the oryx antelope, is decorated with red and brown cotton cloth and metal rings on its horns. H 37 in. Wood, paint, cloth, metal. Page number 129 figure 142 in the book: The colorful Sogo Bò Puppets of Mali, Mary Sue Rosen Paul, Paul Peter Rosen.

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Three wood statues, one with beaded necklace. Largest is 11.75"T.

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TRADITIONAL BOGOLAN TEXTILE (“MUD CLOTH”). Bamana people, Mali. Made from 8 hand woven, hand sewn cotton strips. Painted with traditional designs using pigment derived from soil. Cotton textile, pigment. 63in x 43in.

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TRADITIONAL PRE-COIN “PENNY” CURRENCY. Kissi people, Guinea/ Liberia/ Sierra Leone. Single or bundled twisted iron rods were widely used as currency by the Kissi people. Singly, these rods had lesser value, hence the term ‘penny”, whereas a bundle such as this example was used for important transactions such as bride price. The T-shaped tops were referred to as wings or ears (nileng) and the flat sections at the other end were the feet (kodo) or tail. On custom base. H 23.5in.

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CORNUCOPIA SERVING DISH. Probably Lobi people, Ivory Coast. Used to offer kola nuts to guests as a sign of hospitality. Birds poised on the lip are a sign of friendship. The turtle who walks slowly but steadily is a sign of a durable relationship. Excavated in the 1940s. Shows signs of prolonged burial. Lost wax cast brass. Length 7.5in.

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Male Mask, on custom base, Western Grassfields, Cameroon. 22" tall. Provenance - Exhibition: “More Than A Pretty Face: Masks from West and Central Africa From the Rosen African Art Collection.” Free Library Gallery, Philadelphia, PA 2011. Page number 160 figure 225 in the book: Masks From West and Central Africa A Celebration of Color and Form. Mary Sue and Paul Peter Rosen. Atglen, PA, Schiffer Publishing.

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African art marked "Toma stone mask (Liberia), 12"x6.5".

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KOSSO BLANKET OR COVER. Bamana ot Maninka people, Mali. Kosso blankets were used as a sleeping blanket on cool nights and to repel mosquitoes. Loops have been added to one end of this blanket suggest that this example might also have been used as a room divider. Entirely hand woven and hand sewn. Cotton. 89in x 62in. See Pascal J Imperato “Bamana and Maninka Cover and Blankets” African Arts 1974; 7:56-67, 91.

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RARE EAST AFRICAN HEADRESTS. Each hand carved from a single block of wood. Note the patina and wood grain. (A) Dinka people, Uganda. Rare form shaped like a two-headed horse on tripod support. Braided leather thong for carrying over shoulder. Wood. 19.5in. wide, 8.75in. high. (B) Me’en people, Ethiopia. Slightly concave platform set on an oval hollow pedestal rising from a round base. Elegant form juxtaposing rectangular, oval and rounds shapes. Wood. 9in. wide, 7.75in. high.

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FACE MASK, Dan people, Liberia. This mask has the male characteristics of a beard and large, round eyes encircled by metal discs. There are also metal teeth. The spirit of the mask is “activated” by the nail in it’s forehead. Wood, pigment, raffia, metal. H 9.5in. See Rosen/Rosen 2013 p 22.

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Maternity Figure, wearing old hand strung beads, Kulango, Ivory Coast. 18.5" tall. Provenance - Exhibition: “Materials Transformed The Art of African Sculpture From the Mary Sue and Paul Peter Rosen Collection.” Free Library Gallery, Philadelphia, PA 2012.

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African art beaded pot, 22.5"Tx11.5" diameter.

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This unusually heavy puppet head depicts Sa, the horse. It is embellished with metal and cloth applique. Eyelashes fashioned from cloth surround the eyes. H 25 in. Wood, cloth, metal, paint. Page number 98 figure 107 in the book: The colorful Sogo Bò Puppets of Mali, Mary Sue Rosen Paul, Paul Peter Rosen.

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PLANK MASK. Mossi people, Burkina Faso. Masks such as this are performed at events such as the start of spring planting or fall harvest seasons and at funerals, The context is explained by the accompanying songs and music. The dominant theme of the mask is birds, probably owls, which have large eyes and especially keen eyesight. H 16in. Wood, pigment.