African Art Collection Auction Ending 1/25

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KNEELING MATERNITY FIGURE. Nsapo-Songye people, Democratic Republic of Congo. The neck rings and extensive scarifications show the influence of neighboring Lula people. This sculpture is related to the work of the so-called “Master of the seated maternity figure”, a Nsapo-Songye carver. H 11.5in. W 4in. Wood. See Bacquart 1998 pp.168-169.

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WOMAN’S ASO OKE TEXTILE. Yoruba people, Nigeria. In addition to very regular, unusually closely spaced open work, this hand woven cloth with 13 strips has a nice weft design with bold and subtle elements at the end of each strip. For more information about aso oke cloth see Lot 14. L 68.5in. W 43in. Cotton.

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CROSS PENDANTS (3). Ethiopia. One in the form of a Star of David. H 2in.-3in. Hand cast nickel-silver alloy.

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FACE MASK. Eket people, Nigeria. Round, shield-shaped masks such as this one are worn during ceremonies of the Ekpo secret society. The Eket people live in the eastern Niger delta region which is also home to the Ibibio, Igbo, Ekoi, and other groups. Diameter 12.5in. Wood, pigment. See Bacquart 1998 pp. 92-94.

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FEMALE PUPPET. Makonde people, Tanzania. This puppet was employed during funeral ceremonies by a relative of the deceased who used it as a medium for praising the decedent. On custom base. Exhibited at the Pen and Brush Gallery New York 2005. H 11.5in (seated) W 7in. (seated). Wood, string, pigment. See Bacquart 1998 pp. 212-213.

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KAKUNGU FACE MASK. Suku people, Democratic Republic of Congo. These highly revered masks appear during initiation ceremonies for boys. H 18in. W 10in. (with raffia). Wood, string, raffia, pigment. See Stepan 2005 p. 175.

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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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BOOAG FACE MASK. Kwele people, Gabon. This mask was worn by a member of the Bwete Society during ceremonies to counter witchcraft at times of crisis. It represents a bongo antelope, an animal said to possess especially potent spiritual powers. H 25in. W 6.75in. Wood, pigment. See Rosen 2013 p. 170.

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NECK RING, BRACELET, PENDANT. Tuareg people, Mali/Niger. Neck ring 5.75in. Brass-plated silver alloy. Bracelet 2.25in. Silver alloy. Pendant 1.5in. Silver alloy with beaded necklace. Tuareg jewelry is now difficult to obtain because of terrorist activity in the Sahara area.

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MBULU-NGULU RELIQUARY SCULPTURE. Shamaya subtribe of the Kota people, Gabon. Guardian figures such as this were tied to the top of baskets (bwete) that contained the bones of ancestors. The form of the sculpture varies among Kota subtribes. The fine detail of the embossed metalwork makes this a particularly fine example. H 20in. W 9.75in. Wood clad in embossed brass sheeting. See Bacquart 1998 pp.120-123.

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COMMEMORATIVE CLOTH. Mali. This cloth was printed to commemorate the Compagne de Lutte Contra le Sida 2006 (2006 Campaign Against AIDS). It also displays the slogan Tenons nos Promesses, Acellerons la Prevention (Let us keep our promise to accelerate prevention). The background design is the red ribbon of the anti-AIDS campaign embracing the green silhouette of Mali. Collected in Bamako 2007. Printed by Comatex SA. L 143in. W 42in. Cotton. See Lot 28 for more information about Malian commemorative cloth.

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OLD STYLE ASO OKE WOMAN’S WRAP. Yoruba people, Nigeria. This fine textile dating from the 1930’s to 1970’s shows the influence of Nupe weavers in its arrow-shaped weft float designs that refer to Koranic writing boards. The fine beige and blue checkerboard design seen in alternate strips, called etu or guinea fowl, resembles the speckled pattern of the bird’s plumage. Thirteen hand woven, hand sewn strips. L 71in. W 53in. Cotton. See Clarke 1997 pp. 94-111.

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FACE MASK. Dan people, Liberia/Ivory Coast. The elaborate braided coiffure, slit-shaped eyes highlighted by metal strips, raffia beard, and metal teeth are attributes associated with a GoGe mask which would be worn during funeral ceremonies for an important chief. H 9.5in. Wood, rope, raffia, metal, pigment. See Bacquart 1998 pp. 35-39.

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FEMALE CHI WARA HEAD CREST MASK. Bamana people, Mali. These masks represent the mythical roan antelope that the Bamana people believe taught them how to farm. Upright masks such as this come from the eastern and central regions of Mali. The baby antelope on the back of the female antelope head crest symbolizes human beings whose survival in Mali depends on farming. Chi wara appear in male/female pairs representing, respectively, the sun and the earth. The sculptures are worn attached to a small basket that is affixed to the top of the dancer’s head. H 35in. W 8in. Wood, plant fibers, cloth, beads, string, horse hair, leather. See Rosen 2013 pp. 94-95 and Bacquart 1998 pp. 64-67.

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MALE CHI WARA HEAD CREST MASK. Bamana people, Mali. The body of this impressive sculpture features complex open work with a zig-zag motif referring to the passage of the sun across the sky. The hand sewn cloth packets with raffia balls attached to the ears are amulets. H 43.5in. W 11.5in. Wood, cloth, pant fibers, string, raffia, leather, horse hair. See Lot 54. Also Rosen 2013 pp. 94-95 and Bacquart 1998 pp. 64-67.

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ANIMAL GOLDWEIGHTS (2). Ivory Coast. Turtle L 2.5in. Antelope. L 2.5in. Both hand cast brass.

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WOMAN’S INDIGO WRAP. Dogon people, Mali. This very soft, old hand woven cloth consists of 13 hand woven strips with a deep indigo blue color and traditional warp stripe design. L 60in. W 41in. Cotton.

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OKUY FACE MASK. Punu people, Gabon. This mask with a prominent bi-lobed hair style has facial scarifications on the forehead and in front of the ears. It is an idealized portrait of a female ancestor who returns as a guardian spirit at funerals and other ceremonies. H 11in. W 8in. Wood, pigment. See Rosen 2013 pp.164-169.

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ASAFO MILITIA COMPANY FLAG. Fante people, Ghana. The provocative image presented here refers to the proverb, “Even a dead elephant is more powerful than vultures”. Belonging to the No 2 Company, it depicts an elephant on its back (dead), two vultures, and a member of the No 2 Company. The implied message is that we, the No 2 Company represented by the elephant, are stronger than our rivals who are like vultures. An elephant, normally a peaceful animal, becomes dangerous when provoked. The appliquéd figures are hand sewn with embroidered details. Exhibited at the Free library Gallery Philadelphia 2013. Published in "Emblems of Power” 2013 p.70 Fig 56. This book is only available from the authors at ppr2001@med.cornell.edu. L 88in. W 30in. Rayon-polyester and cotton textiles.

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MAN’S KENTE CLOTH. Ashanti people, Ghana. The warp stripe design of this fine textile is called Toku akra toma or “Toku soul cloth. It was made from 24 hand woven, hand sewn strips. This cloth estimated to be at least 50 years old was collected from the weaver’s family in the Ashanti weaving center Bonwire. L 129in. W 79in. Silk, cotton, rayon. Exhibited at the Pen and Brush Gallery New York 2004. See Clarke 1997 pp. 64-85.