African Art Collection Auction Ending 10/6

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INDIGO AND WHITE KENTE WOMAN’S WRAP. Ashante people, Ghana. 8 hand woven, machine stitched strips. H68in. W33.5in. Cotton textile.

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NECK RING AND BRACELET. Tuareg people, Mali/Niger. Neck ring is brass engraved with traditional Tuareg designs. Bracelet silver alloy. Neck ring 5.25in. Bracelet 2.5in.

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GOLD WEIGHTS (3). Ivory Coast. One fortress-shaped with punched designs (1.75x1.75in.). Two rectangular with abstract designs (1.75x1.75in., 1x7/8in.) Cast brass.

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MODEL FOR A FISH-SHAPED CASKET. Teshie, Ghana. Collected at the workshop of PA JOE, the renowned coffin maker. The lid on the back is hinged over a cavity that can be used to store valuables. A full-sized coffin with this design would be made for a fisherman. H11in. W25in. Wood, paint. See “Soul of Africa” by K.E. Müller and U. Ritz-Müller 1999 pp.172-175.

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STANDING MALE PUPPET. Dogon people, Mali. Arms articulated at shoulders. Body bends forward at waist. His clothing is made from traditional cloth. H20.75in. W8in. Wood, cloth, fiber, paint.

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COPTIC CHRISTIAN PROCESSIONAL CROSS. Ethiopia. Hand painted cartouche paintings of Jesus crucified, Mary with baby Jesus, and Saints with hinged covers. H18in. W12.5in. Alloy including nickel and silver.

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BLUE AND WHITE KENTE CLOTH. Ashanti people, Ghana. Collected from the weaver T.Y. Kente in Akpoketa, Ghana. Used as a woman’s wrap. Eight hand woven strips. H65in. W35.5in. Rayon and cotton.

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“BEAUTIFUL WOMAN” FACE MASK. Senufo people, Ivory Coast. Finely carved example. Face is crowned by a chameleon. Worn by a man during ceremonies of the Poro Society. H11in. W6in. Wood, pigment. See “A History of Art in Africa” 2001 pp.150-151.

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BARK CLOTH RUNNER. Collected in Fiji in 1992. H12.5in. W48in. Hand printed on pounded bark.

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MAN’S AGBADA ROBE OR BOUBOU. Hausa people, Nigeria. Very elaborate hand and machine embroidered dagger design on front. Spiral designs on front and back. Neck yoke lined with soft blue cloth. This exquisite example is in pristine condition. H48in. W86in. Cotton and rayon. Exhibited at Pen and Brush Gallery, New York 2004. See “African Textiles” by J. Gillow 2003 pp. 100-103.

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MBULU-NGULU RELIQUARY FIGURE. Kota people, Gabon. This wooden sculpture clad in brass strips and sheets would be tied on top of a basket (bwete) containing the bones of ancestors. This exceptional example has faces on the front and back. There are copper nose rings. H21in. W7.5in. Wood, brass, copper. See “A History of Art in Africa” 2001 pp. 358-360.

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BEADED NECKLACES (3). West Africa. One with 20 brass tubular beads and a heart-shaped catch from Nigeria. Second with 46 sand cast barrel-shaped glass beads from Ghana. Third has approx. 167 disc-shaped transparent brown glass beads from Ghana.

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KNEELING FEMALE FETISH FIGURE/PUPPET. Collected in Lomé, Togo. Arms articulated at shoulders. Used in ceremonies celebrating Mami Wata, a water spirit (hence the blue color) who brings or takes away wealth. Figures such as this are found in shrines assembled by priests and priestesses from gifts contributed by devotees, much as in the Vodun religion. H13in. W5in. Wood, paint, gilt metal necklace. See “A History of Art in Africa” 2001 pp. 326-327.

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ASAFO MILITIA COMPANY FLAG. Fante people, Ghana. This flag was displayed in ceremonial parades by the Company to which it belonged. The narrator of the story told in the flag images, a member of the Company, is pointing to a large shore bird swallowing a fish tail first, as in the proverb, “The tall bird swallows a fish from the tail first”. This is contrary to nature and serves as a reference to the extraordinary powers of the Company since a bird naturally swallows a fish head first to avoid getting the fish’s spines stuck in its gullet. The two other birds and leopard refer to rival Companies who are warned not to confront the Company that owns the flag. The canton is a replica of the Ghana national flag, indicating that the flag was created after 1957 when Ghana became an independent nation. Figures hand appliquéd with embroidered details with identical images on bath sides of the flag. H35in. W54in. Cotton textile. See “Emblems of Power. Asafo Flags from Ghana” by Mary S. and Paul P. Rosen 2014 pp. 96-97. This 103 extensively color illustrated book is exclusively available for purchase from the authors at ppr2001@med.cornell.edu . Post paid price in U.S. $25.00; post paid price outside U.S. $35.00

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NGIL FACE MASK. Fang people, Gabon/Equatorial Guinea/ Cameroon. Worn by members of the Ngil Society, these masks are painted with white kaolin to embody ancestral spirits when the maskers appear at night accompanied by torchlight. H 19.25in. W6in. Wood, pigment. See “Masks from West and Central Africa” by Mary S. and Paul P. Rosen 2013 pp.171-172.

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BLOLO BLA FEMALE SPOUSE FIGURE. Baule people, Ivory Coast. This standing female figure supporting a baby on her back is a spouse from the spirit world. It is carved as specified by a diviner. The sculpture is kept in the person’s bedroom where it is offered food and consulted for advice on making decisions. The prized status of this particular figure is indicated by the strings of beads with which it is adorned. H19in. W4in. See “A History of Art in Africa” 2001 pp. 213-215.

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FEMALE CHI WARA HEAD CREST MASK. Bamana people, Mali. Worn attached to a basket-form cap on top of the head, this mask represents the mythical roan antelope the Bamana people believe taught them how to farm. The mask is a metaphor for a farmer. Chi wara from northwestern Mali have this horizontal form in which the head and body are carved separately and joined by two metal staples. Chi wara were danced in pairs, representing the sun (male) and earth (female) referring to human and agricultural fertility. Mounted on a custom base. H9.75in. W21.25in. Wood, pigment, metal staples. See “Masks from West and Central Africa” by Mary S. and Paul P. Rosen 2013 pp. 94-95.

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MALE CHI WARA HEAD CREST MASK. Bamana people, Mali. This mask is the mate to the example in Lot # 37. In contrast to the mask in Lot #37 where the body of chi wara is that of an antelope, here the horns of an antelope are combined with elements of a pangolin (curled tail) and aardvark (arched body), both noted for their skill as diggers. This mask is a metaphor for a farmer. Mounted on a custom base. H10.25in. W23.75in. See “Masks from West and Central Africa” by Mary S. and Paul P. Rosen 2013 pp.94-95.

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PUPPET. Zaramo people, Tanzania. This fine example has articulated arms and legs attached with strings that pass through the shoulders and hips. Used in funeral ceremonies where family members would speak through the puppet to praise the deceased. H26in. W5.5in. Wood, beads, string, pigment.

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KENTE CLOTH MAN’S WRAP. Ashanti people, Ghana. Made from 21 hand woven, hand sewn strips. The name of cloth, Anka nam, meaning “I walk alone” is derived from the warp design with a single central white line on a blue ground. H110in W63in. Cotton, rayon.