African Art Collection Auction Ending 5/3

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TOPOKE OR LIGANDA SPEAR CURRENCY. Topoke and Turumba people, Democratic Republic of Congo. Derived from the shape of a spear point, this type of pre-coin currency was in use in the 19th and early 20th century in the region around Kinshasa. A slave could be bought with 30 and a wife with 40 to 50. First brought to Europe around a curiosity around 1900, they are still uncommon in African art collections. This fine, well-preserved example is decorated with a series of subtle ridges that run along the surface of the blade and flared flanges at the base. It is presented on a custom mount designed for hanging on a wall. H 57in. Iron.

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FEMALE MUIHA FIGURE. Bwa people, Burkina Faso. Muiha figures are used by diviners to seek protection and prosperity for a community to which they belong. The power of this figure is enhanced by the iron necklace and pendant. The crested hair style is typical for Bwa and Mossi sculptures. H 25.5in. Wood, iron, rope. See Roy, Wheelock 2007 p. 422-423.

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EXHIBITION DISPLAY STAND. H 44in. Iron.

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NECK RESTS (2). Arussi and Gurage people, Ethiopia. Neck rests such as this were used to elevate the head of a recumbent person, especially by women with very elaborate hairstyles. Each is decorated with incised motifs. Squares on the rectangular Arussi neck rest represent protective amulets. The Gurage neck rest has a conical base. Arussi H 7.25in. Gurage h 6.75in. Wood, pigment.

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FACE MASK. Anang (Ibibio) people, Nigeria. An eagle with partly extended wings stands on an arched base at the top of this mask. The front of the base bears the partly effaced inscription, “Made in China” that may be a reference to the poor quality goods from China that flood African markets. In this context, the eagle represents Nigeria standing above such cheap stuff. The full meaning of the mask is revealed in performance. The face has vaguely Oriental features that are commonly found on Anang masks. The markings on the face represent tattoos. H 20.5in. Wood, paint, mirrors. Published in Rosen, Rosen 2013 p. 150 Fig. 210.

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NAMA SOGO BÒ FACE MASK. Bamana people, Mali. Nama is the hyena, an effective and intelligent hunter. The mask represents the wisdom of community elders in Sogo Bò puppet and mask performances. H 12.5in. Wood, paint. Published in Rosen, Rosen 2012 p.119 Fig. 129. Exhibited at SMA Fathers Museum of African Art, Tenafly NJ. 2009

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WARABA SOGO BÒ FACE MASK. Bamana people, Mali. Waraba is the lion, an important bush animal with great power as a hunter and is dangerous to approach. In some situations, it is a metaphor for political authority that must be overthrown if it abuses its power. The mask appears with a voluminous costume in Sogo Bò puppet and mask performances. H 16.5in. Wood, paint. Published in Rosen, Rosen 2012 p. 116 Fig 126. Exhibited at the SMA Fathers Museum of African Art Tenafly NJ. 2009