African Art Collection Auction Ending 1/25

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KORÈ HYENA FACE MASK. Bamana people, Mali. Worn by members of the highest level of the secret Jow society during initiation ceremonies. The mask has a zoomorphic form. It is customary to decorate certain Bamana masks with strands of red yarn. H 18in. W7.25in. Wood, cotton yarn.

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STANDING PREGNANT FEMALE FIGURE. Mangbetu people, Democratic Republic of Congo. A figure such as this finely carved sculpture was used as fertility shrine. The basket-like structure on top of the head is a traditional hairstyle worn by Manbetu women. The relatively short legs and hands resting on either side of the protruding abdomen are characteristic features of such figures. H 15.5 in, W 3in. Wood.

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STANDING MALE FIGURE. Lega (Warega) people, Democratic Republic of Congo. Maninga statues such as this are used during initiation ceremonies to tell stories about ancestors and proverbs. Fur has been used to simulate hair on the scalp. These figures are typically carved without arms. H 18in. W 4.25in. Wood, pigment, fur. See Bacquart 1998, p.148.

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BEARDED FACE MASK. Lega (Warega) people, Democratic Republic of Congo. This old mask was used during initiation ceremonies where it may be worn or displayed on a fence. H 9in. W 5.5in. (without beard). Wood, pigment. See Bacquart 1998, p. 148.

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ASAFO MILITIA COMPANY FLAG. Fante people, Ghana. Displayed in ceremonial parades and at meetings of the No. 2 Company. This flag represents the proverb, “Will you fly or will you run? Either way, you can’t get away from us.” Depicted are 2 men representing members of a rival Company or an enemy who are fleeing from the No. 2 Company that identifies itself with a lion. Collected in Ghana. L 61.5in W 33.5in. Entirely hand sewn with embroidered details. Cotton. Modified Union Jack canton. Exhibited at Free Library Gallery, Philadelphia 2013 and the SMA Fathers Museum of African Art, Tenafly, NJ 2014. Published in “Emblems of Power. Asafo Flags from Ghana” Fig. 67, p.76. This book is only available from the authors at ppr2001@med.cornell.edu

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NKONDI NAIL FETISH. Kongo people, Democratic Republic of Congo. The anthropomorphic spirit represented by this figure is used to ward off the spell cast on a person by a witch or sorcerer. The nails, mirrors, and magical substances contained in the collar (together called Nkissi) are attached under the direction of a ritual specialist. A small figure such as this would be kept in a personal shrine. H 10.75in. W 4in. Wood, nails, mirror, cloth. See Bacquart 1998 pp. 128-129.

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SEATED PUPPET. Zigua people, Tanzania. This enigmatic figure is seated on a traditional three-legged stool. The arms are articulated at the shoulders by wooden pegs and at the elbows. The cupped hands and forward-leaning position suggest that this figure might have been a medium for communicating with ancestral spirits. Estimated age 40 yrs. H 8.75in. W 3in. Wood, pigment.

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BATIK TEXTILE. Ghana. This stunning multicolored textile created by Ellen and Joseph Mensah was collected at the Art Center in Kumasi, Ghana in 2004. L 66in. W 45.5in. Cotton cloth.

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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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LILWA HANGING FIGURE. Mbole people, Democratic Republic of Congo. The figure represents a person condemned to death by hanging for a crime such as adultery or murder. Hanging is suggested by the shoulders and arms hunched forward. Used during various phases of initiation into the secret lilwa society, the figure is used to warn initiates of the penalty for these crimes. H 17.5in. W 5in. Wood, pigment. See Phillips 1999 p. 306.

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ANIMAL GOLD WEIGHTS (2). Ivory Coast. Used to weigh gold on a balance scale. Represented are a porcupine and a pair of tall shore birds. Porcupine L 3in. Birds H 2.5in. Hand cast brass.

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WOMAN’S KENTE WRAP. Ashanti people, Ghana. This extraordinary textile consists of 15 hand woven, hand sewn strips with five indigo warp designs. L 82in. W 46in. Cotton.

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BWA CIBOLA SOCIETY FIGURE. Lulua people, Democratic Republic of Congo. Extensive scarifications seen here typify Lulua sculpture. This female figure holding a cup in one hand and knife in the other was used as a shrine to protect women and children. She has an umbilical hernia, indicating a parous woman, and a large pendant on the front of her v-shaped skirt. H 15.5in. W 3.5in. Wood, pigment.

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MBUYA-MUYOMBO FOREHEAD MASK. Pende people, Democratic Republic of Congo. This old mask with a long beard fringed by strands of raffia was used in initiation ceremonies. The mask is worn horizontally on the forehead. The beard is a sign of wisdom and authority. H 14in. W 5.5in. Wood, raffia, pigment. See Hahner-Herzog 1998 p.81.

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ASO OKE WOMAN’S WRAP. Yoruba people, Nigeria. This strip woven cloth includes strands of Lurex, a glittering metallic plastic fiber introduced in the 1970’s. The regular openwork, characteristic of Aso Oke textiles, is created when the weaver places a rod or weaving sword between warp strand. The open work makes the cloth lighter to wear and provides ventilation. It is worn during important celebration. This cloth also features a weft float pattern. Hand woven, hand sewn. L 79in.W 22in. Cotton, Lurex. See Clarke 1997 pp. 94-111.

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IBEJI TWINS. Yoruba people, Nigeria. Adorned in robes covered by cowrie shells, a sign of wealth, these miniature figures represent deceased male and female twins. Sex is evident anatomically under the robes. Because of their spiritual power, Ibeji figures are honored with libations and prayers. The male is the taller of the pair. H 9in. W 5in (male with robe); H 8.5in W 5in (female with robe). Wood, cloth, cowrie shells, pigment.

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FEMALE PUPPET. Nyamwezi people, Tanzania. Articulated at the hips and shoulders, puppets such as this act as intermediaries through which ancestors and spirits are consulted. The puppet is supported in a standing position by a custom base. It has a necklace and belt of beads. The elongated body and short legs are typical for puppets from this region of Africa. H 26in. W 5.5in. Wood, string, beads.

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LAMBA MENA BURIAL SHROUD. Malagasy people, Madagascar. Women weave these fine textiles with a traditional warp stripe design. The weaver’s tag, sewn to the cloth reads, “MIRAY. Kasinset Lehibe 4-112”. Malagasy textiles are not widely available to collectors. L 63in. (with tassels) W 10in. Cotton. See Kraemer 2002.

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CROSS PENDANTS (3). Ethiopia. Worn by Ethiopian Coptic Christians. There is a nearly infinite variety of designs. H 2in.-2.5in. Hand cast nickel-silver alloy.

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WOMAN’S WRAP. Joola or Fulani people, Senegal. Brightly colored yarns create a dramatic effect in this hand woven, hand sewn textile composed of six 7in.-wide strips. L 59.5in. W 43in. Cotton.