African Art Auction Ending 12/12

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ASAFO MILITIA FLAG. Fante people, Ghana. This flag expresses the proverb, “A Chief is like an Odum tree: he has no front and no back” (he is responsible for everyone in the community). The female figure identified as “Safohen Gyasi” and a Supi or Company Captain with a whip dangling from his wrist are pointing to the Chief wearing a print cap and pants with his hands on his hips standing next to an Odum tree. The message is that the Chief is like an Odum tree, the home of a protective spirit and site of the Company posuban or headquarters. The figures are hand sewn with embroidered details. Cotton. 41.5in x 60in. Exhibited at the Free Library Gallery Philadelphia 2102, 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 88 Fig 92. This 103 page book is only available from the authors at ppr2001@med.cornell.edu.

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SHARK FIN BODY MASK. Bidjogo people, Guinea Bissau. This decorated replica of a shark’s dorsal fin is worn on the back of a young man or woman as part of an initiation costume. Sharks, both feared and venerated by the Bidjogo people, infest the ocean around the Bissagos Islands of the Guinea Bissau archipelago where the people spend most of their time in or on the water. This shark fin mask is decorated on both sides with painted carvings of various aquatic animals that are familiar to the Bidjogo people, including sharks, birds, and a mermaid-like shark. The images on this shark fin body mask are very similar to those seen on the shark fin illustrated in the attached photograph dating from the 1970s (see DG Duquette “Woman Power and Initiation in the Bissogos Islands” African Arts 12; 31-35, 93: 1979). Wood, paint. H 24.5in.

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MAN’S ROBE. Ewe people, Ghana. This old man’s wrap was collected in Kpetoe, an important Ewe weaving center, from John Akpoa who stated that it had belonged to his grandfather, Torgbui Kavi and that he had stored it with other important cloth in a box in his home (see Lot #24). Consisting of 20 hand woven, hand sewn strips, it has no weft blocks and only 5 inlay designs or “scriptures” in the warp (one representing a four-legged animal, another a bird in flight, and the others abstract forms). Dating from the early 20th century, this cloth is an excellent example of early Ewe weaving lacking weft blocks. Several different warp strip patterns are represented. Although Ashante cloth is named for its warp stripe designs, this is not a custom with Ewe textiles. Cotton. 77in x 119in.

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CLOTH STORAGE CHEST. Ewe people, Ghana. Chests like this were used throughout Ghana to store important textiles. What makes this footed example unique is the fact that the interior is lined with pages from the “Daily Graphic” newspaper dated March 28, 1957, three weeks after the date (March 7, 1957) on which Ghana gained its independence from Great Britain. The newly created Ghana national flag is depicted in the newspaper. Wood, newspaper. H 11in W 15.5in L 28in.

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CHIEF’S STOOL. Fante people, Ghana. Of typical Akan form, the pedestal of this extraordinary stool depicts a leopard that has killed a small duiker deer. The leopard was the totem of the Chief who commissioned this stool and it is likely that a rival group was represented by the wily duiker deer. Thus, the Chief was showing his disdain for his rival. The leopard’s eyes are painted red with yellow irises and large black pupils. The deer is painted brown. The entire stool was carved from a single block of wood. Wood, paint. H 15.5in W 13.5in L 25in.

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CEREMONIAL DOUBLE GONG. Bamum people, Cameroon. Large double gongs such as this are important emblems of the Kwifoyn Society composed of elite members of the royal court. The arched handle is wrapped with intricately woven straps of leather-like raffia. The bells a made from hand forged iron. The gong was used during funerals for members of the Kwifoyn Society, other solemn occasions, and to announce the arrival of the King. Iron, raffia. H 36.5in W 20in.

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PAINTING OF A MASSAI WOMEN. Massai people, Kenya. Framed silhouette-like portrait of a Massai woman depicts her in traditional dress including a multi-tiered wedding necklace, floral robe and ankle rings. The picture was hand painted on beautiful batik cloth, signed by the artist “Maki”, and dated in European style “ 13/8/80”. It was collected in Nairobi, Kenya in 1986. Wood, glass, batik cloth, paint. W 12in H 25.5in.

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MAN’S WRAP. Ewe people, Ghana. Hand woven, hand stitched. Consists of 18 strips all with the same warp stripe pattern that is dramatically enlivened by numerous brightly colored weft blocks and a number of double weft decorative designs or “scriptures” including birds, spear points and some abstract forms. Cotton. 70in x 107in.

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FEMALE MINSERAH STATUE. Mende people, Sierra Leone. Minserah statues are female altar figures at which women come to pray for fertility and other personal issues. The shortened legs help to draw attention to the breasts and abdomen that are essential to child bearing. On custom base. Wood, pigment. H 29.5in.

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HELMET CREST MASK. Yaka people, Democratic Republic of Congo. Most Yaka masks such as this example appear during initiation ceremonies for boys. The upturned nose is a distinctive feature of Yaka masks which typically consist of a face surmounted by a graphic superstructure. In this case, the superstructure represents a hut, possibly a reminder to initiates of the familial responsibility that comes with adulthood. The masker held the handle at the bottom of the mask to keep it steady. On custom base. H 21in. See Bacquart 1998 p 184-185.

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EXCEPTIONAL MAN’S WRAP. Ewe people, Ghana. This cloth consists of 20 hand woven, hand sewn strips with a dark indigo blue warp pattern and colorful weft blocks that is enhanced by multiple weft decorative designs (“scriptures”) that include animals and abstract symbolic motifs. Cotton. 68in x 124in.

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CHIEF’S TENT. Fante people, Ghana. This colorful Chief’s tent is decorated with numerous symbols of power, most notably appliqued and embroidered elephants, the moon and sun, and amulets in the form of powerful protective substances wrapped in small cloth bundles (amulets) that hang from cords. Many small mirrors with plastic frames serve to protect the Chief by reflecting evil spirits seeking to damage him. The Chief holds court for his village beneath the tent supported by a scaffold while seated on a stool such as Lot# 25. Because of their great importance as part of a Chief’s regalia and the expense of having them made, Fante Chief’s tents are rarely available to collectors. This example was collected in Accra, Ghana. Cotton, plastic, mirrors. 64in x 110in.

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TALL ABSTRACT FEMALE FIGURE. Mali. This contemporary sculpture is in the style of the famous early to mid-20th century Swiss sculptor, Alberto Giacometti (1901-1966), who was a contemporary of the post-Impressionist group of artists including Picasso and the sculptor Rodin. The African sculptor has modeled the elongated limbs and body using traditional blacksmith techniques. The African woman looking skyward is stepping forward. On custom base. Brass. H 70in.