African Art Collection Auction Ending 10/6

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NGANGA DI PHOMBE FACE MASK. Yombe people, Democratic Republic of Congo. These masks with a relatively naturalistic appearance were worn by a ritual diviner who was able to detect witchcraft and other causes of social discord in the community. The absence of a knob on the top of the head indicates that this mask is associated with a male spirit. H10.5in. W7in. Wood, pigment. See “Masks from West and Central Africa” by Mary S. and Paul P. Rosen 2013 p.186.

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MWANA PWO FACE MASK. Chokwe people, Democratic Republic of Congo/Angola. This female mask has the characteristic Maltese cross forehead marking as well as cheek scarifications, and a carved forehead band. The mask represents a female ancestor and the ideal of youthful feminine beauty. H8in. W4.5in. Wood, woven plant fibers and raffia, pigment. See “Masks from West and Central Africa” by Mary S. and Paul P. Rosen 2013 pp.180-183.

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KNEELING FEMALE FIGURE. Yoruba people, Nigeria. This sculpture was probably part of an altar ensemble dedicated to a deity or orisha. The kneeling position is that of a supplicant. The distinctive coiffure is an abstract version of the cockscomb (agogo) style in which the hair is divided into three braided sections. The two side braids are pulled tight in the center forming a cap whereas the central braid is used to create a crest over a supporting armature running from the front to the back of the head. The exceptionally large, dramatic crest on this sculpture is a testament to the remarkable skill of the sculptor who may have been a student of the great Yoruba master carver, Bamgboshe of Osi-Ilorin. H25in. W6.5in. Wood, pigment.

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BOOAG FACE MASK. Kwele people, Gabon. Worn by a member of the Bwete Society, this mask appeared during ceremonies devoted to countering witchcraft in times of community crisis. The mask represents a bongo antelope, an animal thought to possess especially potent spiritual powers. H24.75in. W8.5in. Wood, pigment. See “Masks from West and Central Africa” by Mary S. and Paul P. Rosen 2013 p.170.

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BLOLO BLA SPIRIT WIFE. Baule people, Ivory Coast. This elegant, beautifully carved statue has rich patina resulting from having been ritually rubbed by its owner. Spirit spouse sculptures are carved on instruction from a village diviner. According to Baule belief, each person has a spouse in the spirit world who is manifested in carvings such as this. The spirit spouse can exert a positive or negative influence on a person’s life. H15.5in. W2.75in. Wood, pigment. See “The Tribal Arts of Africa” by J-B. Bacquart. 1998 pp.48-49.

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TSHINBINDU ILUNGA STATUE. Chokwe people, Democratic Republic of Congo. Tshinbindu Ilunga is reputed to have been a 15th century Prince of the Luba tribe who is regarded as the ancestor of the Chokwe people. He has the Maltese cross symbol on his forehead. In the right hand he holds a staff. The left hand holds a cup in the form of a horn. The small figure below the left hand symbolizes the protection that he confers on the Chokwe tribe. H18.5in. W6.5in. See “The Tribal Arts of Africa” by J-B. Bacquart 1998 pp.188-191.

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ASAFO MILITIA COMPANY FLAG. Fante people, Ghana. The flag expresses the proverb, “With a clean heart, even a lion bows before you”. A man with his head turned toward a fierce leopard, points to a bowing lion. The message is that even a lion recognizes the strength of the Company that owns the flag. A rival Company represented by the (spotless) leopard has no chance of winning if it starts a fight. The image of a leopard without spots is a particularly deep insult to a rival Company whose animal mascot is a leopard. The absence of a border is a feature associated with older flags, but this appears to be newer version, possibly made to replace a deteriorated original. The canton is a modified Union Jack. The figures, with embroidered details, the borders, and the canton are hand sewn. Identical images on both sides of flag. W60in. H35.5in. Exhibited at Free Library Gallery Philadelphia 2013. Published in “Emblems of Power. Asafo Flags from Ghana” by Mary S and Paul P. Rosen 2014 Fig. 70, p.77. This 103 page color illustrated book can be purchased exclusively from the authors at ppr2001@med.cornell.edu. Post paid price in U.S. is $25.00; post paid price outside U.S. $35.00.

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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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EKONG FACE MASK. Eket people, Nigeria. Circular masks such as this are worn during ceremonies associated with the Ekong and Ekpo secret Societies. H12.5in. W13.5in. Wood, pigment. See “The Tribal Arts of Africa” by J-B. Bacquart 1998 pp.92-94.

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WOMAN’S WRAP KENTE CLOTH. Ashanti people, Ghana. This old cloth collected in Ghana was created from 14 hand woven, hand sewn strips. It displays traditional weft designs such as babadua, wotoa, and nkyemfre (broken pot). H69in. W49in. Cotton.

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ELEPHANT MASK. Western grasslands people, Cameroon. The elephant mask is an uncommon member of the lineage mask , group performed by members of the Kwifoyn Society at funerals , and during the annual ceremony at the end of the main harvest. , H33in. W10in. Wood.

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ADANUDO WOMAN’S WRAP. Ewe people, Ghana/Togo. This Ewe kente cloth made from 12 hand woven and hand sewn strips displays 6 inlay motifs (sometimes referred to as “scriptures”) woven into individual strips including camels, a comb, and a bird. The ends of the cloth have been hemmed and there are “native” repairs in some strips. H60in. W37in. Cotton.

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FACE MASK. Yaure people, Ivory Coast. This mask representing yu or spirit power is danced at funerals to cleanse the village after a death and to assist the spirit of the deceased to reach its resting place. Typical scarifications are present on the forehead, the bridge of the nose and on the temples. The Yaure people occupy an area between the Baule and Guru. Their masks are influenced by both neighboring cultures including the use of colored paints typical of Guru masks. The serrated border around the face is a characteristic feature of a Yaure mask. The coiffure of this mask is drawn into two equal parts the ends of which are tied into small buns that protrude on either side of the head. H9in. W5in. Wood, paint.

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MALE FETISH FIGURE/PUPPET. Efik people, Nigeria. The fact that this figure is covered with encrusted libations suggests that it may have been part of an altar. The arms are articulated at the shoulders. H13in. W7.5in. Wood, pigment, libations.

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MALE FETISH FIGURE/PUPPET. Nigeria. A figure such as this was placed in a shrine where libations were applied to it by a diviner or a supplicant. The specific religious cult associated with this sculpture is not known. The original white kaolin color of the figure is obscured by dried layers of libation that were poured on it over many years. The arms are articulated at the shoulders. H14.5in. W6.5in. Wood, kaolin, libations.