African Art Auction Ending 12/12

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ANCESTRAL FUNERARY STATUE/POST. Mossi or Lobi people, Burkina Faso. The central crest on the head, round protruding eyes, and pendulous breasts set high on the chest are typical features of Mossi and Lobi sculpture. Note the carved scarifications on the torso. There is an ancient iron ring around her neck. Posts such as this were erected in the ground outside the ancestral home as guardian figures. The results of prolonged exposure to the elements are evident. On custom base. Wood, iron. H 33.5in.

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“FAMILY TREE” POST. Makonde people, Tanzania. The figures carved in the round represent members of an extended family, including past and present generations, supporting each other. Carved in extremely hard ebony wood, creating this work requires great skill and patience. Wood. H 14in.

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WOMEN’S INDIGO WRAPS. Marka/Dafing people, Burkina Faso. Hand woven strips. Very soft. Warp stripe patterns. (A) Deep indigo with broad stripes in 12 strips 38in x 58in. (B) Pale indigo with narrow stripes in 14 strips. 32.5in x 52in.

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ASAFO MILITIA FLAG. Fante people, Ghana. Belonging to a No 7 Asafo Company, this flag depicts the mythical giant Asebu Amanfi who is based on the 17th century historical character Amanfi, King of the Asebu Kingdom. According to legend, he was strong enough to carry a barn filled with corn. In this depiction, his sister is seen at a window. The message to rivals is that the No 7 Company can accomplish feats of great strength and military prowess. The canton is the Union Jack. Hand sewn appliqued figures and embroidered details. Cotton. 42in x 57in. Exhibited at the Free Library gallery Philadelphia 2012, the SMA Fathers Museum of African Art 2013 and the University of Memphis 2016. Published in “Emblems of Power. Asafo Flags from Ghana” 2013, p 93 Fig 101. This 103 page book is only available from the authors at ppr2001@med.cornell.edu.

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ASAFO MILITIA CEREMONIAL CAPS. Fante people, Ghana. These three fringed caps are part of the regalia worn by militia members when they parade with their flags in village streets. The caps have tie straps to hold them in place. The fringes duplicate those on their flags. Cotton with hand sewn appliqued figures and embroidered details. All 24in long.

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GOLD WEIGHTS (5). Ivory Coast. Used to weigh gold on a balance scale. The forms include the following: fish, square, chameleon, rhinoceros, and 2 crocodiles with a common body (refers cooperation rather than conflict as in the saying, “No use fighting over the food as it all goes to the same stomach”). Brass. 2in to 3.5in.

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HEAD CREST MASK. Temne people, Sierra Leone. Bust head crest masks appear in Jolly (pronounced Jollay) Society masquerades. Colorful scarfs are often worn as part of the performer’s costume and in this instance a jaunty scarf has been tied around the mask’s neck. The mask represents a cocky young man whose red rimmed eyes suggest someone who parties hard until the wee hours of the night. Wood, paint, cloth. H 12.5in. Exhibited at the Free Library gallery Philadelphia 2012 and published in Rosen/Rosen 2013 p 64-65 Fig 79.

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KIBE-KIBE DANCE HEAD. Kuyu people, Democratic Republic of Congo. The Kuyu people live on the banks of the Kuyu River in the northwestern part of the country. They are noted for wooden heads such as this which are carried on long wooden poles during initiation ceremonies of the men’s secret Ottote Society. The heads typically have an elaborate coiffure and an open mouth revealing fine, sharp teeth. In this instance, the coiffure is divided into two lateral lobes separated by a long band of hair that loops from the forehead to the nape of the neck, a style associated with a revered ancestral female. A bundle of feathers would have been inserted in the hole at the top of the band of hair. On custom base. Wood. H 28in.

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WEST AFRICAN HEDDLE PULLEYS. (A) Senufo people, Ivory Coast. Hornbill form. The hornbill bird is referred to as the “master of birds” by the Senufo people because of its intelligence. In the men’s Poro Society, the title “Master” indicates creativity and mastery of a skill such as weaving. Wood. H 6.0in. (B) Bobo people, Burkina Faso. Human bust with elaborate coiffure. Wood, string. H 7.0in. Each on a custom base.

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10 CROSS PENDANTS. Coptic Christian people, Ethiopia. Coptic pendants from Ethiopia come in innumerable forms and sizes. All silver/nickel alloy. 2.5 to 3.0in.

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PASSPORT MASKS. Liberia, Ivory Coast. These miniature forms of traditional face masks were carried as a means of tribal identification when individuals left their home territory. (A) Bassa people. Wood. H 4in. (B) Dan people. Wood. H 3in. (C) Dan people. Wood, metal. H 5in.

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12 JOLLY (JOLLAY) SOCIETY FACE MASKS. Temne people, Sierra Leone. The forms and style of painting indicate that these masks are the work of the same carver. They may have appeared together as a couple in a Jolly (pronounced Jollay) Society masquerade. (A) Male mask with a white face, pompadour hair style parted on one side and facial scarification. A cloth costume was attached to the nails around the edges of the mask. Wood, paint, nails. H 9.5in. (B) Female mask with a multilobed hairstyle and orange face. Feathers were inserted in holes in the coiffure. H 10in. Published in Rosen/Rosen 2013 p 86 Fig 111.

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WEDDING BLANKET. Fulani people, Mali or Niger. This exceptional textile consists of 9 hand woven, hand embroidered strips with tufts and tassels. It was given to a newly-wed couple and is used for warmth (nights in the southern Sahara desert can be cold) as well as for protection against wind, sand and insects at night. Cotton. 57in x 108in.

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BUNDU (SOWEI) DOLLS. Mende people, Sierra Leone. These dolls show the full regalia associated with Bundu helmet masks which are worn by women officials of the Sande Society that is responsible for the initiation of girls at the time of puberty. The masker’s body is covered by a voluminous costume of shredded blackened raffia. She carries a broom of sticks or grass in one hand which is used to sweep the ground, a gesture symbolic of sweeping away childhood. (A) On custom base. Wood, grass, shredded black plastic. H 12in. (B) On custom base. Wood, grass, shredded black plastic. H 14in. Published in Rosen/Rosen 2013 p. 36 Fig 34.

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MAN’S WRAP. Ashante people, Ghana. The black and white gingham check warp stripe pattern of this cloth is called “the feather of the guinea fowl” (Asam Ntakra), the “guinea fowl’s breast” (Asambo), or “scar” (Kotwa). Cloth with this design is only worn by Chiefs. It symbolizes sacredness, healing, and “spiritual protection”. The cloth was woven by Nana Yaw Oduro Manu in Bonwire where it was collected from the weaver’s grandson and is estimated to be around 80 years old. Silk and cotton. 80in x 124in.

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FACE MASKS. Ogoni people, Nigeria. The masks have characteristic hinged jaws. (A) Mask wears a pith helmet and probably represents a Colonial man. Wood, pigment. H 6in. (B) Mask with white face and black highlights. Wood, pigment. H 7.5in. Each on a custom base. Both Ex Bonham’s Auction, New York November 9, 2011.

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ADINKRA MOURNING CLOTH. Ashante people, Ghana. This type of dark robe is worn by a man attending a funeral or other solemn occasion. It is decorated with Adinkra symbols that form a language with social, theological and philosophical meaning. The word “Adinkra” may derive from the name of a 17th century Ashante king, Nana Kofi Adinkra, or from the word “dinnkera” meaning “saying goodbye”. In this example, the stamps made from dried calabash rinds were applied with a special black ink to one side of dark blue cotton damask cloth. The underlying pattern in the shiny damask cloth is visible. This cloth was collected in the town of Ntonso from the maker, Samuel Amankwatia Evans in 2004. It consists of two joined sheets of damask cloth measuring in toto 100in x 144in. See Quarcoo 1994 for explanation of the symbols.

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FACE MASK WITH PARROT AND SNAKE. Anang (Ibibio) people, Nigeria. The superstructure of this dramatic mask is a parrot with spread wings standing on a coiled snake. The significance of the star-shaped object on the bird’s head is not known. This mask belongs to the Mami Wata tradition. The parrot is sometimes associated with Chiefs and diviners because of its ability to speak. Yarn serves as hair. There is a silver colored ring in each ear of the woman. A band of rubber is attached to the back. Wood, paint, yarn, metal, rubber, nails. H 20in.Published in Rosen/Rosen 2013 p 153 Fig 213.

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WOMAN’S WRAP. Ewe people, Ghana. This cloth consists of 16 hand woven, hand sewn strips with multiple double weft images (“scriptures”) some of which are recognizable (hands, stools) and others that appear to be abstract symbols. Woven in the Agbozume region that is noted for fine Ewe weaving, it was collected there from Charles Agyemang. Cotton. 55in x 79in.

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JOLLY SOCIETY HEAD CREST MASK. Temne people, Sierra Leone. This old mask was used in Jolly (pronounced Jollay) Society masquerades during Ode-Lay festivals. The female bust has Hindu-inspired features. The light and dark rectangular objects carved around her head represent amulets attached to her hair. The wings and horns fit in sockets and are detachable. A costume was hung from the large nails in the base. Wood, paint, nails. H 42.5in (with horns); 23.5in (without horns). Published in Rosen/Rosen 2013 p 75 Figs 93-94.