African Art Auction Ending 9/13

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FIGURATIVE GOLD WEIGHTS (2). Ashante people, Ghana. (A) Ashante queen seated on a traditional stool with an unusual disc-shaped pedestal. H3.25in. (B) Spoon in the form of an old wise man with a long, braided beard. H3.25in. Both brass, made by the lost wax method, dating from late 19th century.

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PRIZED MAN’S CEREMONIAL ROBE NAMED “OHENE AFORO HYEN”. Ashante people, Ghana. The title of the design of this cloth means “the King has boarded a ship”. This refers to an event in 1937 before Ghana gained independence from Great Britain. After putting down a rebellion by the Ashante people, the Ashante King, Prempeh I, was captured and sent into exile in the Seychelles Islands on a ship. This event not only signaled the end of the Ashante Kingdom, but it also broke the centuries-old tradition that the King would not cross the Pra River (which he had to cross in his journey into exile). The cloth was collected in Bonwire, the center of Ashante weaving. The weaver was Nana Mensah Abrampa and the estimated age is 80 years. Silk. 77in x 123.5in.

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CEREMONIAL KNIFE. Kuba or Dengese people, Democratic Republic of Congo (Zaire). The surfaces of this unusual knife-form ceremonial object are covered by punched and linear designs similar to those found in their elaborate body scarifications (Dengese) and sculptures or textiles (Kuba). The shape of the blade and handle are typical for knifes used as weapons or for ceremony by these native groups. What makes this exceptional is the fact that it was cast as a single piece in copper (rather than an iron blade with wood handle), and the oval fenestration in the blade. Copper was so prized that small pieces were sometimes inserted into the iron blade of a knife to enhance its value, but in this case the entire knife is copper. Of note is the fixed clapper-like form inside the bell-shaped base of the handle. On custom base. Solid copper. H12in.

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MEDICINE HORN. Mende people, Sierra Leone. This is an amulet that is worn by a young girl from a high-status family after her initiation into the women’s Bundu (Sande) Society. The form is based on the horns used by hunters to carry gun powder in the era of muzzle-loading rifles. The hollowed goat horn is filled with protective magical substances that may include gun powder as well as a piece of paper with a scriptural passage. The ends are closed with decorative silver caps. Collected in Segbwema in the Kenema region. Goat horn, silver, fine silver chain. Horn 8in on 13.5in chain. See 1910 photograph showing two Bundu initiates wearing medicine horns. The rectangular objects worn on chains by several women are also amulets.

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SEATED MINSERAH FIGURE. Mende people, Sierra Leone. Minserah are female statues that women consulted for assistance with infertility and other personal issues. The top of the coiffure wrapped with string forms a cup into which libations were placed. She is wearing a skirt and a necklace of beads with a Kola nut pendant. Kola nuts, which contain caffeine, have a long history in Africa where they were used variously as currency, gifts, a symbol of welcome to guests, and religious offerings. The prominent abdomen suggests pregnancy. Collected in the Pujahon region. Wood, pigment, string. H27.5in.

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BOW AND ARROW FETISH. Fon people, Benin. In contrast to the usual example with one arrow, this very powerful fetish has three arrows that endow it with exceptional strength. Hunters offered libations at this altar before going out to hunt. The form of this fetish links hunting to the era before the introduction of firearms by Europeans. This example dates from the early 20th century. On custom base. Hand forged iron. H9in.

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TRADITIONAL WEST AFRICAN LADDER. Lobi people, Burkina Faso. Ladders of this type were leaned against the outside wall of a house and used to climb to the roof where the family slept when it was oppressively hot. Instead of facing it as one would on a conventional Western-style ladder with rungs, one climbs turned sideways. This example shows extensive wear from use and has gained a beautiful patina from exposure to the elements over many years. On custom base. Wood. H54in.

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HEAD RESTS. Ethiopia. (A) Oromo people. Block form with carved ivory bust of King Omar. Dates from early 20th century. Wood, pre-embargo ivory. H6.5in. (B) Arusi people. Central post in form of human lower torso and legs. Carved designs on base. Excellent patina from use. Early 20th century. Wood. H6.5in. (C) Oromo people. Finely carved designs on the hollow, conical base. Beautiful patina. Mid-20th century. Wood. H6.5in. (D) Kaffa people. Pedestal base supports a sturdy post decorated with a carved wooden disc. Excellent dark patina. Mid-20th century. Wood. H6.75in.

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SNAKE (BANSONYI) HEADDRESS. Baga people, Guinea. The snake headdress mask or “Master of Medicine” represents the snake spirit that is associated with fertility, prosperity, and protection from danger. Placed in a receptacle in a conical armature that is supported on the performer’s shoulders, the snake towers above his head. Bansonyi appears at male initiation ceremonies. The face is defined by raised, round eyes set high on either side of the triangular head. A ridge with carved motifs extends along the full length of the front. Remnants of layers of paint are evident on the surface. The concave base would sit like a cap on the performer’s padded head, held in place by an armature (see picture). This example dates from the 1930s-1940s prior to Guinea’s independence from France in 1958. After independence, the Muslim-dominant, Socialist-Communist government of Guinea decreed that all objects related to native religious practices be destroyed. This included virtually all Bansonyi existing at the time. However, a small number were rescued by European collectors and a few were hidden away in remote rural villages. This example belongs to the latter group. Wood, paint. H52in. Published in “Masks from West and Central Africa” p17 Fig5.

Similar to the Baga Serpent, Republic of Guinea sold by Southeby's

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ABSTRACT SHETANI SCULPTURE. Makonde people, Kenya/Tanzania. Shetani are said to represent the “spirits of the Makonde people” carved in a modern form. The origin of this style of carving in ebony wood has been traced to a carver named Samaki who began to produce non-traditional carvings in the mid-1950s. It is not known whether this style of sculpture was influenced by the work of modern European artists like Picasso. This piece is signed “Mauku” on the side of the base, presumably the name of the artist. It appears to consist of disembodied anatomic elements entwined in a serpentine structure. It requires great skill to sculpt such a complex figure out of a block of dense, hard ebony wood. Light patches are part of the grain of the wood and not chipped spots. Collected in a Nairobi, Kenya gallery in 1986. Ebony wood. H24in.

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PRE-COIN SUU OR SO CURRENCY. Mambila and Mfunte people, Cameroon, Nigeria. Used for payment in important transactions like dowry and “bride price” throughout the region bordering Nigeria and Cameroon. Sometimes referred to as hoe-form because of a resemblance to smaller hoe blades used in the area. Hand forged with a dramatic form and beautifully oxidized surface from exposure to the elements. Early 20th century. On custom base. H28in.

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PRE-COIN SPEAR-FORM CURRENCY. (A) Nbaka, Baia and Dia people, Democratic Republic of Congo (Zaire). Sometimes referred to as “Mbili Nbaka” meaning “money of the Nbaka”. It was used as a dowry payment in marriage contracts. The blade of this spectacular example is decorated with red and white pigment. Hand forged. Early 20th century. On custom base. Iron, pigment. H28in. (B) Bozo people, Mali. The livelihood of the Bozo people who live along the Niger River depends on fishing. An implement used to catch fish such as this spear/harpoon point was used as a form of currency. By itself it has an interesting anthropomorphic form with a twisted shaft. On custom base. Hand forged iron. H14in.

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SNAKE FETISHES. Lobi people, Burkina Faso. Snakes were believed to be intermediaries with ancestors. They were also feared because their bite could be fatal. Various snake forms were worn as charms to ward off snake bites and they were placed in altars for prayers. Each on custom base. (A) Type worn on leg to protect against snakes (see picture). Dates from 1950s. Hand forged iron. H14in. (B) Representing a poisonous type of horned viper, this type was placed vertically with the tail embedded in the ground in an altar. Note the twisted neck. Dates from 1950s. Hand forged iron. H12in. (C) Three-headed altar snake (see picture). Note eyes on the heads. This fetish dates from the 1930s. Hand forged iron. H8in. All exhibited at the Pen and Brush Gallery New York 2003.

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SICKLE FORM THROWING KNIFES. Democratic Republic of Congo (Zaire). (A) Topoke people. Blade is sharp on both edges. Although it could have been used as a weapon, this knife was mainly a prestige object carried by a village dignitary as seen in the picture from 1910 of an aged village leader on a prestige seat (ordinary people sat on a rock or on the ground) holding an identical weapon in his left hand. The handle has fine copper wire wrapping. Hand forged iron, copper, wood. H25.5in.(B)Nsakara people. Similar to (A) but only the concave edge is sharp and there is a perforated, rectangular stub at the base of the blade. Hand forged blade with central ridge shows evidence of use. On custom base. Iron, wood. H18.5in.

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PARADE KNIFE. Kundu or Konda people, Democratic Republic of Congo (Zaire). These non-functional knifes were carried in ceremonies and were prized as souvenirs by Belgian colonial administrators. The figure in this example has one arm raised and the other dependent. Designs reflective of body scarifications have been incised in the torso. The handle is wood that is decorated with brass wire and tacks. Dates from the 1930s. Iron, wood, brass wire, tacks. H21in.

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HEART-SHAPED BATTLE KNIFE. Mongo, Saka, Kutu people, Democratic Republic of Congo (Zaire), The entire handle of this unusual knife is wrapped with copper, indicating that it was a prestige object as well as a weapon. The hand forged heavy blade displays marks of the blacksmith’s tools, and it is strengthened by two ridges that come together at the point. Early 20th century. On custom base. Iron, copper, wood. H28in.

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CEREMONIAL CLUB-SHAPED KNIFE WITH FUR POMMEL. Poto people, Democratic Republic of Congo (Zaire). The vaguely anthropomorphic blade with three struts at its base, has a finely engraved asymmetric design. The shaft of the handle is tightly wrapped with copper wire and the pommel is a ball of fur from a dangerous feline predator such as a leopard. It is reported that magical plant material contained within the fur ball gives the knife exceptional power. Markings on the blade indicate membership in a particular secret society. Although primarily carried on ceremonial occasions, Poto knifes were also battle weapons. Dated 1920s. Iron, wood, copper wire, fur. H25.5in.

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SICKLE-FORM CEREMONIAL KNIFE. Mambila people, Cameroon. The high status of the owner of this knife is indicated by the blade made entirely of copper with a C-shaped engraved decoration and the floret-form stub at the base. The wood handle was wrapped in wire, some of which is lost. On custom base. Copper, wood, wire. H14in.

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LID FROM BOWL FOR SERVING WAADII. Oromo people, Ethiopia. Waadii or tibs is a dish consisting of meat sautéed with vegetables and spices that is served to commemorate special occasions. This mammary-form lid is decorated with carved circumferential, traditional triangular designs. Custom wall mount. Wood. Diameter. 14in.

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BIRD HEAD SICKLE-FORM CEREMONIAL THROWING KNIFE. Falli, Margi, and Kapsiki people, Cameroon. The blade of this hand forged ritual knife represents the head of a cock, a bird with important ritual importance to these people. The twisted shaft ends in a hollow socket that contained a short wooden handle part of which remains. The upper part of the shaft of this exceptional example is wrapped with copper wire as a mark of high prestige. These knifes were carried by women (see picture) in ritual dances, including at funerals. During the dance, each woman held a knife above her head with her right hand while holding her right breast with her left hand. The knife is a symbol of fertility and female empowerment. On custom base. Iron, copper, wood, copper wire. H16in. Exhibited at the Pen and Brush Gallery New York 2003.