African Art Auction Ending 4/9

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Kuba Cup With Handle, Democratic Republic of Congo. 7.5" 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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Anang, Ibibio, Nigeria. 18.5" 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 140 figure 194 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 Ltd., 2013.

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Pair Of Iron Dogon Figures, “Very old,” Mali. Provenance - Exhibition: “Materials Transformed The Art of African Sculpture From the Mary Sue and Paul Peter Rosen Collection.” Free Library Gallery, Philadelphia, PA 2012, Iron oil lantern dogon mali, Solid Cast Brass, The Nile Perch or Capitane, Ivory Coast, & Brass Chameleon, “Unusual.” handcast with traditional decoration depicting water, Mali. Largest being 18.5" tall.

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Asafo Militia flag depicting a Chief in a patterned robe pointing to an odum tree which is the source of his spiritual powers and authority. A member of the Asafo Company is looking on. Message: All members of the Company are protected by the Chief. Proverb: A Chief is like an odum tree; he has no front or back (he is responsible for everyone). The canton is an unusual modification of the Union Jack. The figures are hand sewn with embroidered details. Cotton textile. 59.5in. X 30.5in.

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Wax resist dyed batik cotton textile with lavender design on green and black ground. Created by Kweku Sachey. Collected from the designer in Accra, Ghana. 70in. long 48in. wide. See “African Textiles” by John Gillow, p.84.

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Pictorial bogolan (“Mudcloth”) textile depicting two women with head loads of fire wood followed by a farmer with a hoe on one shoulder. 10 strips of hand woven country cloth machine sewn. 71in. x 46in. Bamana people, Segou, Mali. See “Bogolanfini Mud Cloth” by S. Hilu and I. Hersey.

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ABSTRACT BOGOLAN TEXTILE. Bamana people, Mali. This unusual bogolan cloth with a painted leopard skin-like design consists of 10 hand woven strips. L 72in. W 44in. Cotton, pigment.

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NDOMA FEMALE PORTRAIT FACE MASK. Baule people, Ivory Coast. These masks appear at daytime entertainment events to celebrate the image of an ideal woman. This mask is exceptional for two reasons. 1. Whereas the coiffure of the typical portrait mask has three lobes with the one in the center being larger, here the larger central lobe is flanked by three lobes of decreasing size cascading down each side. 2. Objects depicted on the coiffure are typically combs, birds, or animal horns and only rarely by human figures. Here the mask is topped by a woman seated on a traditional stool. Her serene visage complements the face of the mask and her arms resting on her abdomen are a sign of peace. H17.5in. W6.5in. Wood, pigment.

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COUNTRY CLOTH WRAP. Mende people, Sierra Leone. This old fringed cloth was made from 12 hand sewn strips that were hand woven from hand spun cotton. This old lappa country cloth has the traditional Mende warp stripe pattern derived from the use of unbleached brown cotton yarn. L 64in. W 52in. Cotton. See Lamb 1984 p. 102.

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FACE MASK. Anang (Ibibio) people, Nigeria. The man with parted hair seated astride this mask appears to be a European, possibly a celebrity. His identity would be revealed by the dance and accompanying song when it was worn. An interesting but unexplained oddity is the deliberate absence of the man’s feet. The missing left arm and hand probably held a snake. Despite this loss, the mask has an interesting presence. The face has Hindu-inspired features typical of Mami Wata sculptures. The interior shows extensive wear from use. Wood, paint, nails. H 21.5in. Published in Rosen/Rosen 2013 p 146.

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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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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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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. 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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PICTORIAL BOGOLAN TEXTILE. Bamana people, Mali. This domestic scene depicts three generations. A farmer smoking a pipe and with a hoe on one shoulder is accompanied by his dog as he returns from his fields. An elder man smoking a pipe, probably the farmer’s father, is seated under a tree as the farmer’s wife with a baby in a sling on her back is preparing a meal. L 86in. W 42in. Hand painted, hand woven cotton textile.

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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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COMMEMORATIVE CLOTHS (4). Mali. (A) Green cloth with elephants commemorates the 45th anniversary of Mali’s independence on September 22, 2005 in the city of Sikasso. L 77in. W 42in. (B) Cloth with red ribbons commemorates the leadership of women and youth in the fight against HIV/AIDS (sida in French) L 71in. W 44in. (C) Blue cloth commemorates the independence of Mali on September 22, 2007. L 140in. W 44in. (D) Beige cloth with black dots that commemorates the 50th anniversary in 2003 of three high schools (lycee) for girls in Mali: Lycee Nelson Mandela, Lycee National, and Cours Normal. L 71in. W 42in. All printed on cotton cloth by Comatex SA Mali, the national textile manufacturer. Length of cloths (A), (B), and (D) is one pagne, a standard unit of measure for length. Cloth (C) is 2 pagnes. Textiles such as this are used by women to sew their clothing.

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ZAPOZAPO CEREMONIAL AX. Luba people, Democratic Republic of Congo. Used as an insignia of status and wealth, and sometimes bride wealth. The handle of this example has the typical bulb top of Luba Zapozapo axes and a tulip-shaped blade. Handle H 14.25in. Blade L 7.25in. Wood, iron.

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MAN’S VEST OR HUNTING SHIRT. Mende people, Sierra Leone. This garment was created from 12 hand sewn strips, hand woven with hand spun cotton. It has an asymmetrical beige warp stripe design characteristic of this type of Mende country cloth. The beige color comes from the use of natural brown cotton. Heavy cloth such as this provides protection against mosquitoes. Textiles woven using hand spun cotton are no longer made. Collected in Sierra Leone in 2005. It was estimated to be at least 50 years old. L 36.5in. W 24.5in. Hand spun cotton. See lamb 1984 pp. 100-104.

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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.