A Curated Auction from the Rosen African Art Collection in New York Ending 4/9

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WOMEN’S CLOTH (2). Ashante people, Ghana. (A) Collected in 2004 in Bonwire village, an Ashante weaving center. Said to have been woven by Opanin Kwame Kesse and estimated to be approximately 80 years old at that time. According to our informant, this is half of a larger man’s cloth that was divided by a Chief’s family after his death because they couldn’t decide who should get the whole cloth. The warp design consisting of a centered single white line on an indigo field is called “Ankonam”, meaning “I walk alone”. It symbolizes self motivation and independence. Made from 14 hand woven, hand sewn strips. Cotton, silk (in weft blocks).76inx44in. (B) Collected in Bonwire. The warp design of 6 white lines on an indigo field is called “Apea Akobi” in honor of a weaver of this name who lived and worked in Bonwire around 1750. Although not restricted today, cloth with this warp design was only worn by the Ashante King until early in the 20th century. It is made from 14 hand woven, hand sewn strips. Cotton, silk (in weft blocks) 81inx46in. See Adler/Barnard 1993 p164.

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FACE MASK. Anang (Ibibio) people, Nigeria. The man with parted hair seated astride this mask appears to be a European, possibly a celebrity. His identity would be revealed by the dance and accompanying song when it was worn. An interesting but unexplained oddity is the deliberate absence of the man’s feet. The missing left arm and hand probably held a snake. Despite this loss, the mask has an interesting presence. The face has Hindu-inspired features typical of Mami Wata sculptures. The interior shows extensive wear from use. Wood, paint, nails. H 21.5in. Published in Rosen/Rosen 2013 p 146.

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ARON ARABAI MASK. Temne people, Sierra Leone. Temne masks such as this made from hammered brass are exceedingly rare. They represent the guardian spirit of a Chief and his clan. This mask is exceptional because of the extensive embossed designs. It is thought that the brass face was attached to a helmet mask. This mask was collected in 2004. Brass. H 11in. Exhibited at the Free Library Gallery Philadelphia 2012. Published in Rosen/Rosen 2013 p 32. See W.A. Hart “Aron Arabai: The Temne Mask of Chieftancy” in African Arts 1986; 19: 41-45, 91 (copy attached).

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FRANKAAKITSANYI DANCE SKIRT. Fante people, Ghana. The Asafo Militia flag (frankaa) is carried in battle and during ceremonial processions by specially trained members of the Company (frankaaakitsanyi) who will protect the flag with their lives and perform acrobatic feats with the flag on ceremonial occasions. Referred to as “flag dancers”, these men wear a traditional grass skirt that has bells and cowrie shells attached to the waist band. These skirts have important ritual significance and are rarely available to collectors. Raffia, grass, bells, cowrie shells. 32in.x23in. Exhibited at the Free Library Gallery Philadelphia 2013 and the SMA Fathers Museum of African Art 2014. Published in “Emblems of Power: Asafo Flags from Ghana” 2013 p 50. This book is ONLY available from the authors at ppr2001@med.cornell.edu. See attached image.

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KASSA WEDDING BLANKET. Peul (Fulani) people, Timbuktu region of northern Mali. Made from 8 hand woven, hand sewn stripes with bands of indigo weft designs. The use of weft threads of differing off white shades and thicker warp threads give the blanket a subtle, interesting texture. This textile would provide a dramatic accent in a contemporary design setting. Cotton. 99inx58in.

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YANGALEYA FACE MASK. Ligbi people, Ivory Coast/Ghana. This mask represents the hornbill, a bird with a strong beak and mythical qualities for members of the Do Society. H 13in. Published in Rosen/Rosen 2013 p 31.

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JOLLY (pronounced Jollay) SOCIETY FACE MASK. Temne people, Sierra Leone. Representing a beautiful woman, this mask has a coiffure of abundant synthetic brown hair embellished with various items including beads, jewelry, and mirrors that protect the wearer against evil spirits. A small wooden antelope head is attached to the hair above the forehead. The male wearer of this mask would have been disguised by the colorful print cloth hanging below the mask. Because the mask is supported by a wire armature that fits over the wear’s head, it can be considered a ‘wire bender” mask. On custom base. Wood, paint, cloth, synthetic hair, decorative objects. H 13.5in (exclusive of cloth). Published in Rosen/Rosen 2013 p 88. See attached text.