African Art Collection Auction Ending 5/3

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FRAMED TUAREG PENDANTS. Tuareg people, Mali, Niger. The Tuareg are nomadic people who traverse the southern and central Sahara Desert. They consist of multiple sub-tribes each of which is identified by a unique pendant design. This framed presentation contains 21 identified pendants. The frame is covered with leather tightly applied to carved wood. H 16.5 W 18in. Metal, glass, wood, leather, paper.

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MAN’S OYOKOMEN KENTE WRAP. Ashanti people, Ghana. This beautiful cloth has the Oyokomen warp pattern of alternating red, green and gold bands. It is named after the Oyoko clan of the Asantehene or King of the Ashanti. The weft designs at the head or ends are ntaban (weaving swords) and akyem (wickerwork shield). L 124in. W 82in. Cotton, silk.

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WOKULON SOGO BÒ FACE MASK. Bamana people, Mali. Wokulon is a bush spirit who protects villages against evil forces. He appears as a masked figure in Sogo Bo puppet performances. H 16.5in.Wood, paint. Exhibited at the SMA Fathers Museum of African Art Tenafly NJ 2009 and the Free Library Gallery Philadelphia 2010. Published in Rosen, Rosen 2012 p. 148 Fig 174.

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FACE MASK. Guru people, Ivory Coast. This old mask was previously painted as evidenced by small patches of pink exposed under the blue surface. It is not unusual for an African mask to be repainted over the years if it is prized by its owner. A ram’s horns and an elephant are represented. H 12in. Wood, paint.

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KNEELING MATERNITY FIGURE. Dengese people, Democratic Republic of Congo. H 15.5in. Wood, pigment.

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WOMAN’S COMMEMORATIVE CLOTH (3). Mali. The red cloth commemorates “ Programme National de Lutte Contra la Practique de l’Excision” (National Program Against Female Circumcision) celebrated February 6, 2008. L 75in. W 45in. The orange cloth proposes awarding the 2005 Nobel Peace Prize to 1000 women as a way to recognize women’s efforts to promote world peace. L 72in. W 42in. The third, multicolored cloth celebrates the “International Day of Women” on March 6, 2006. L 62in. W 39in. All printed on cotton cloth by Comatex SA in Mali and collected in Bamako, Mali in 2008.

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47. ASAFO MILITIA FLAG. Fante people, Ghana. With this flag, the No.1 Company warns its rivals that it is as dangerous as a provoked buffalo in the bush. The hunter wounded the bleeding buffalo that has hoisted the hunter on his horns and is trampling the hunter’s rifle. The corresponding proverb is, “The buffalo catches the hunter when it has been annoyed”. The word “Company” is rarely spelled out on Asafo flags as it is here. The figures are hand sewn with embroidered details. The canton is the Ghana national flag indicating that this flag was made after independence in 1957. The exact same images are present on both sides. L 42in. W 66in. Cotton. Exhibited at the Free Library Gallery Philadelphia 2013 and SMA Fathers Museum of African Art Tenafly NJ 2015. Published in “Emblems of Power: Asafo Flags From Ghana” p. 72 Fig 59 which is only available from the authors on line at ppr2001@med.cornell.edu.

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FACE MASK. Urhobo people, Nigeria. This old, white-faced mask wearing a European-inspired crown may represent an ancestral spirit. The wearer is able to see through slits in the cheeks. Masks such as this sometimes appear in pairs representing a King and Queen. Note the foam pad on the inside that protects the wearer’s forehead. H 17in. Wood, paint, foam. Exhibited at Free Library Gallery Philadelphia 2012. Published in Rosen, Rosen 2013 p.122 Fig.168.

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LEOPARD HEAD CREST MASK WITH ARTICULATED JAW. Yoruba people, Nigeria. This old, fearsome mask was acquired in Lomè, Togo. Wearing it on the top of his head, the masker is able to see through the open mouth with an articulated lower jaw. H 15in. Wood, paint, cloth.

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AFRICAN PENDANTS (6). Eleven crocodiles encircling a sun disk Mali 5.5in. brass. Bell 2in. copper. Frog 1.25in. copper. Butterfly 1.0in. copper. Coptic cross Ethiopia 3in. silver-nickel alloy. Star of David 1.5in. Ethiopia silver-nickel alloy.

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HEDDLE PULLEY. Ashanti people, Ghana. This old anthropomorphic heddle pulley shows considerable aging from exposure to the elements in a traditional outdoor weaving shed. It may also have been anointed with libations. On custom mount. H 12in. Wood, metal.

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PLANK MASK. Mossi people, Burkina Faso. Masks such as this are performed at events such as the start of spring planting or fall harvest seasons and at funerals, The context is explained by the accompanying songs and music. The dominant theme of the mask is birds, probably owls, which have large eyes and especially keen eyesight. H 36in. Wood, pigment.

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MAN’S FUNERAL WRAP. Ewe people, Ghana. This exceptional Ewe kente cloth has muted tones dominated by brown that is coordinated with green, red, orange, and blue warp stripes that are evident in the less decorated selvedge strips. In addition to the elaborate double woven weft bars, there are numerous weft decorations of symbolic significance called “scriptures” in Ghana, including spear points and Western-style hats. 18 hand woven, hand sewn strips. Collected in Kpetoe, Ghana, an Ewe weaving center. L 108in. W 63in.

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KE DUNEH CRESTED FACE MASK. Winiama people, Burkina Faso. This mask represents a mythical bush spirit with a large curved horn. The horn on this mask is exceptional because it forms a complete circle which is rarely found in Ke Duneh masks. The appendage at the lower edge of the face serves as a handle that the performer holds and uses to move the mask. This feature is common on masks from Burkina Faso. The masker is covered by a voluminous costume made from plant fibers dyed red. He looks through the mouth. H 24in. Wood, pigment. Exhibited at the Free Library Gallery Philadelphia 2012. Published in Rosen, Rosen 2013 p. 104 Figs 138-139.

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MATERNITY FIGURE. Lokko people, Sierra Leone. Brightly painted figures are typical of Lokko art The authority of the figure is enhanced by placing her on a Western-style high back chair. The scarf adds a dramatic flourish contrasting with her yellow skin. A sculpture such as this would be placed in a woman’s personal altar at home. H 17.5in. Wood, paint, cloth.

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BLOLO SPIRIT SPOUSE. Baule people, Ivory Coast. This finely carved figure personifies a spirit referred to as a spouse who helps solve personal problems by giving advice in a person’s dreams. The statue is kept in the owner’s room where it is offered libations. This tall example has numerous traditional scarifications. On custom base. H 26in. Wood, pigment. See Bacquart 1998 p.48-49.

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HORNBILL MASK. Nuna people, Burkina Faso. The hornbill bird is long-lived and mates with a single partner for life. While the female sits on the nest incubating eggs, the male brings her food. According to Nuna tradition this relationship confers special powers on the hornbill that are associated with the spirit world of ancestors. The significance of the mushroom-shaped structure is uncertain. The wearer grasps a rope at the base of the beak with his teeth and peers through the partly open beak. H 28.5in. Wood, pigment, string. See Roy, Wheelock 2007. p.396.

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FACE MASK. Bembe people (?), Democratic Republic of Congo. The large, concave white circles in which the eyes are set and the triangular design on the neck suggest that this is a Bwami Society mask that is used in circumcision rituals. H 18in, Wood, pigment.

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MALE FIGURE. Temne people, Sierra Leone. On custom base. H 14.5in. Wood, pigment.

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ELU FACE MASK. Ogoni people, Nigeria. Elu masks used in social and religious rituals of men’s secret societies have an articulated lower jaw that can be opened by the wearer and snapped shut with an audible click. This mask has a scarification on the forehead, a full row of teeth in the lower jaw, and a serene facial expression. The white pigment that covers the face has darkened with age. The sloping, protruding nose is typical for anElu mask. H 7.5in. Wood, pigment, rope. See Rosen, Rosen 2013 p.108.