African Art Collection Auction Ending 5/3

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ELU FACE MASK. Ogoni people, Nigeria. This mask has an articulated mandible. The masker is able to open the jaw with his mouth and snap it shut with a click. Elu masks are caricatures of members of the community. They comment on past and recent humorous and tragic events. The particular subject of an Elu mask is only made evident by the performance and accompanying songs. This mask wears what appears to be a mariner’s watch cap. As is true of most Elu masks, the face is whitened with kaolin paste. The frontal and temporal scarifications are reminiscent of similar features on Okuy face masks of the Punu people in Gabon (see Lot #12). Although some Elu masks have teeth, this mask was made without teeth. H 9in. Wood, pigment. Exhibited Free Library Gallery Philadelphia, 2012. Published in Rosen, Rosen 2013 p. 108-117.

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FACE MASK. Anang (Ibibio) people, Nigeria. Anang masks are rare in Western collections. They usually appeared in religious and social festivals. The Y-shaped post is a reference to the confluence of the Niger and Benue Rivers in Nigeria. The complex of a post supporting an eagle flanked by horses is inspired by the Nigerian national coat of arms. The mask was held in place by a rubber strap cut from a bicycle tire inner tube attached to the back. The facial marking represent tattoos. Masks such as this from Southeastern Nigeria have been decorated with bright commercial paints since the 1930s. H 19.5in. Wood, paint, nails, rubber. Exhibited Free Library Gallery Philadelphia 2012. Published in Rosen, Rosen 2013 p.150.

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SLINGSHOT WITH MALE FIGURE. Dogon people, Mali (?). On custom base. H 7in. Wood, pigment.

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FACE MASK. Lokko people, Sierra Leone. Masks such as this are worn in Jolly Society “fancy” dress masquerades. Extensive wear attests to the age of the mask. H 11in. Wood, paint, string. Exhibited Free Library Gallery Philadelphia 2012. Published in Rosen, Rosen 2013 p.87 Fig 113.

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HELMET MASK. Mende people, Sierra Leone. The forehead is framed by a carved string of cowrie shells and the plaited hair is held in place by a large comb. Small metal stud earrings are present. The dull patina is a result of the mask having been stored in water for protection against insects. Before use, the mask would be brought to a shiny patina with pigment and oil. Custom base. H 15.5in. Wood, pigment, metal. Exhibited Free Library Gallery Philadelphia 2012. Published in Rosen, Rosen 2013 p. 41 Figs 41-42.

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INDIGO AND WHITE WOMAN’S WRAP. Ewe people, Togo. This kente textile consists of 12 narrow hand woven, hand sewn strips. Note the unusually intense indigo blue color. L 76in. W 41in. Cotton, indigo pigment. Exhibited Pen and Brush Gallery New York 2009.

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MAN’S KENTE WRAP. Ashanti people, Ghana. The name of this cloth, “mmako nyinaa mpatu mmere” is translated as “all peppers do not ripen at the same time”. This is a metaphor for the idea that everything can happen in good time, so it is not useful to be impatient; appreciate what you already have. This cloth was collected in Bonwire Ghana, an Ashanti weaving center. It was woven by Nana Akwasi Amoah more than 60 years ago. It consists of 16 hand woven hand sewn strips. L 106in. W 54in.

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KARIKPO FACE MASK. Ogoni people, Nigeria. This mask is worn during rituals honoring ancestors at the beginning of agricultural festivals. The dancer mimics the darting movements of the bushbuck antelope. H 32in. Wood, pigment. Published in Rosen, Rosen 2013 p. 118 Fig 162.

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BOOAG FACE MASK. Kwele people, Gabon. This mask depicts the face of the bongo antelope. It is danced during rituals of the Bwete Society to counter the dangerous effects of witchcraft. H 21in. Wood, pigment. Published in Rosen, Rosen 2013 p. 170 Fig 240.

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DUGA SOGO BÒ HEADCREST MASK. Bamana people, Mali. Worn on the top of the performer’s head, this mask represents Duga, the vulture, in the Sogo Bò puppet and masked performance spectacle. The vulture who flies long distances in search of food is a metaphor for a patient and persevering hunter who ranges far and wide in search of prey. Rings on the neck display the national colors of Mali. H 32in. wood, pigment. Published in Rosen, Rosen 2012 p142 Fig. 160 where the size is misprinted.

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ETOSHI ROYAL FIGURE. Dengese people, Democratic Republic of Congo. Statues of the Dengese King, Etoshi, such as this are typically sculpted without legs. Neighbors of the Kuba people, the Dengese are noted for elaborate body scarifications that resemble the geometric designs found in Kuba textiles (see Lot #5). H 17.5in. Wood, pigment. See Bacquart 1998 p. 172-173.

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COLORFUL HAND CRAFTED BEADED BRACELETS (4). West Africa. 3in-3.25in. Beads, leather.

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CROSS PENDANTS (7). Ethiopia. Worn by Ethiopian Coptic Christians. One unusual pendant is hinged. 2in.-3in. Silver-nickel alloy.

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NECKLACES (3). West Africa. A). Chain with metal beads and 3 amber beads, probably from Niger 21in. B). Chain with small black beads and large silver alloy pendant marked “EC+” on the back from Tuareg people in northern Mali 18in. C). Chain with small black beads and 9 small silver alloy fan-shaped pendants from Tuareg people in northern Mali (18in). Jewelry from the Sahel southern Sahara region, especially the Tuareg, is now difficult to obtain because the region is occupied by Al Quaeda and Islamic State Jihadi groups.

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ANIMAL GOLD WEIGHTS (3). Ivory Coast. Used to weigh gold on a balance scale. Mudfish with curled tail W 2.5in. Roan antelope W 2.0in. Long-horn Zebu cattle W 2.5in. Brass.

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FACE MASK. Mossi people, Burkina Faso. This very old mask depicts a hornbill bird who is imbued with great spiritual power coming from its reputed ability to communicate with ancestors. The incised chevron design over the surface with remnants of white pigment is typical for Mossi sculptures. The masker holds the rope behind the beak in his teeth and peers through the gaps in the beak. H 25in. Wood, pigment, rope.

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RARE SILK WOMAN’S PRESIGE WRAP. Ewe people, Ghana. This cloth, said to be 80 years old, was collected in Keta in eastern Ghana. It consists of 13 hand woven, hand sewn cream-colored silk strips with numerous hand- embroidered decorations including a rooster, elephant, comb, necklace with heart locket, parrot, key, hand, etc. L 80.5in. W 45in. Silk, cotton. Exhibited Pen and Brush Gallery New York 2008.

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NGIL FACE MASK. Fang people, Gabon, Cameroon. These masks are worn by members of the Ngil Society during nocturnal initiation ceremonies or in the course of ceremonies to punish witches and criminals. H 28in. Wood, pigment. Exhibited Free Library Gallery Philadelphia 2012. Published in Rosen, Rosen 2013 p.171 Fig. 242.

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WOMAN’S KENTE WRAP. Ashanti people, Ghana. The warp design of this cloth is called Apea akosi meaning “Apea also fought well”. It commemorates Apea, a weaver in Bonwire who lived during the reign of King Kosi Bodum (1742-1752), and honors the ingenuity, creativity, and hard work associated with kente weaving. The head or end border includes the following patterns: wotoa (snail’s bottom), ntabon (weaving swords), and babadua (segmented bamboo cane). The cloth it reported to have been woven in Bonwire by Nana Kwame Besire. It consists of 14 hand woven, hand sewn strips. L 80.5in. W43in. Cotton.

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OLOJU-FOFORO FACE MASK. Yoruba people, Nigeria. Face masks are rare among the Yoruba people. Oloju-foforo means “the owner of deep set eyes”. Masks such as this were used by the Ekiti Yoruba during various festivals. The central kneeling female figure is a priestess of Oshun, the goddess of curative medicinal waters. Her right hand holds a string of cowrie shells and her left hand rests on a female attendant who holds a bowl for offerings to the goddess. H 31.5in. Wood, pigment. Exhibited at Free Library Gallery Philadelphia 2012. Published in Rosen, Rosen 2013 p. 132 Fig 182.