African Art Auction Ending 3/28

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AFRICAN BLACKSMITH’S TOOLS AND RARE IRON “BLOOM” FROM ANCIENT FORGE. Many of the traditional tools used by African blacksmiths were made by the blacksmiths themselves and passed on from one generation to the next. Smithing was often a hereditary occupation, with sons serving as apprentices to their fathers. Consequently, the tools of the trade were highly prized by the family and would only be sold with the concurrence of the male members of the family. Proceeds of such a sale were then divided among the male family members or used to purchase new tools. (A) Adze. Baga people, Guinea. Used to carve wood, as handles for hoes. Fine patina on handle. Wood, hand forged iron. H 11.5in. (B) Awls (2) Mandingo people, Guinea. Used to burn holes in wood or thin sheets of metal. Each on custom base. Shaft of B1 hand forged iron. Handle reinforced with wire. Wood, wire, iron. H 9in. Shaft of B2 forged from rebar. Handle partly charred. Wood, iron. H 12.5in. (C) Tongs for holding heated iron (2). C1 hand forged and made by blacksmith. On custom base. Iron. H 8.5in. C2 with spatula jaws. Hand forged by blacksmith. Iron, pigment. H 8in. (D) Pliers. Dogon people, Mali. Used to grip heated iron. H 8in. (E) Soldering iron. Senufo people, Ivory Coast. Wood, iron. H 11.5in. (F) Anvil. GoGo people, Tanzania. The spiked end was stuck in the ground. Interesting shape with shoulders. On custom base. Hand forged iron. H 13in. (G) Anvil. Matakam people, Cameroon. Hand forged iron with oxidation. On custom base. H 10in. (H) Anvil/punch. Tanzania. Note decorative rings on shaft. Hand forged iron. On custom base. H 13.5in. (I) Hammer with white pigment on head. Wood handle with fine patina. Baga people, Guinea. Head 9lb. Wood, iron. H 14in. (J) Hammer head (11lb). Mandingo people, Guinea. Also used as an anvil. On custom base. H 5in. (K) Iron “bloom” from an ancient smelting forge. Excavated near Kumbija Kaabaakoun village, Gambia. Estimated to date from the 1700s or earlier. This find is extremely rare because most excavations of ancient iron forges uncover only slag. For some unknown reason, the “bloom” was left at this site. This is the form that iron took after the ore was smelted in the forge and extracted from the furnace as the “bloom”. The furnace was considered to be a womb and the smelting process the gestation period. Thus, extracting the “bloom” was giving birth to the iron. The next step was to separate the slag consisting of remnants of the ore from the “bloom”. This “bloom” measures 8.5in in greatest diameter and weighs 4.5lb. See picture showing blacksmith hammering a “bloom” to loosen the slag.

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FOUR WEST AFRICAN RING GONGS. The small ring gong is held in one hand by its neck and struck with a ring placed on a finger, typically the thumb, while a person is dancing. A large ring gong, held by its neck in one hand, is repeatedly swung up and down in a twisting motion to cause a ring attached by a cord to strike the bell. The ring may be hung inside or outside the gong. (A) Bobo people, Mali. Small ring gong on custom base. Hand forged iron. H 6.5in. (B) Samo people, Burkina Faso/Mali. Small ring gong collected from a blacksmith in Bamako, Mali. On custom base. Hand forged iron. H 7.5in. (C) Samo people, Burkina Faso/Mali. Small ring gong collected from a blacksmith in Bamako, Mali. Ring cut from pipe attached with rope made from cloth. Ring strikes gong when it is shaken. Hand forged iron, cloth, steel ring. H 7in. (D) Kabre people, Togo. A large ring gong with a ring attached by rope. Ring can be hung inside or outside of gong. On custom base. Hand forged iron, rope. H 12in.

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TWISTED “PENNY” CURRENCY BUNDLE. Kissi people, Guinea/Liberia. T-shaped iron rods with a twisted shaft that terminate at one end in lateral pointed appendages symbolic of wings or ears (nileng) were widely used as currency among the Kissi people, even as late as the 1950s. During the colonial period, one rod had the value of a British penny, hence the name “Kissi penny”. Bundles of these rods are still used as bride wealth in traditional marriage ceremonies. The flat, round or oval enlargement at the non-T end is considered to be the foot (kodo) or tail. These rods came in various lengths, with the examples in this lot among the longest. The structural features of the rod are an indicator of the quality of the iron as indicated by the ability to twist the shaft, draw the wings out to fine points, and flatten the foot into a thin plate. The value of Kissi pennies was increased when they were forged into bundles which played an important role as symbols of wealth and prestige. When given as bride wealth, the bundle signifies the bond of marriage at which time the wings were folded. Dated 1930s. On custom base. Hand forged iron. H 21in. Exhibited at the Pen and Brush Gallery NY 2003.

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TORQUE OR NECK RING. Yoruba/Nupe people, Bida region of Nigeria. Although the word “torque” means a necklace or neck ring, among Africanists it has come to refer to a specific form of neck ring in which the ends have been drawn into points that nearly come together to form a complete ring. The torque is considered to be one of the aesthetically perfect forms of African metalwork. This example dates from the mid to late 19th century. On custom base. Brass. H 7.5in Wt 7.8lb.

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TWO EAST AFRICAN HEAD RESTS. (A) Bongo people, Sudan. A unique head rest that was probably made on a commission with a form that is vaguely suggestive of a bovine animal. It stands on 4 legs (pegs) inserted beneath the body at angles giving maximum stability. A canvas carry strap is attached to knobs (? head and tail) at either end of the body. The sides of the body are decorated with carved amulet designs. Underside also has amuletic carvings and an excavated area carved to make a handle. Wood, nails, canvas, metal ring. H 8in. (B) Mwila people, Angola. Carvings from Angola are uncommon and headrests from this country are very rare. Post has been hollowed to create 4 pillars that support the top. Hourglass designs carved on base. Very light weight. Wood. H 5.5in.

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ODE-LAY SOCIETY HEAD CREST MASK. Temne people, Sierra Leone. A snake encircles the ringed neck of the fierce, spotted leopard head with a lolling tongue at the top of this sculpture. The female bust below is Janus-faced with slightly different faces with Hindu-inspired features front and back. The coiffure is braided with dependent braids on either side of the frontal face. A hair knot containing a red jewel protrudes above the forehead of the frontal face. Two detachable wings are present. The snakes and Hindu-inspired features refer to the dangerous, seductive female water spirit, Mami Wata (mother of water), who plays an important part in the ritual life of many African cultures. Probably dates from the mid-20th century. Wood, paint, nails. H 22in. Exhibited at the Free Library Gallery Philadelphia 2010. Published in “Masks from West and Central Africa” p. 76, Figs 95-96.

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TWO ELU FACE MASKS. Ogoni people, Nigeria. Elu masks are caricatures of members of the community. Masquerades in which they perform illustrate humorous, happy, and tragic events in oral traditions and songs, as well as commentary on recent events. The white kaolin pigment refers to ancestral spirits. The mask is part of a costume that shrouds the masker’s body. The message intended by the mask is made known by the songs sung during the performance. These masks with articulated jaws. (A) Man with heavy arched eyebrows and very full lips wearing a black derby hat. Possibly reference to a colonial man or a member of the community who mimics the behavior of the colonials. Scarifications carved on the temples. The significance of the tattoo-like design on the chin is obscure. Carved with no teeth. Wood, pigment. H 7.5in. Published in “Masks from West and Central Africa” p 154 Fig 114. (B) Female mask with narrow slit eyes and hair in two lobes drawn into braids that arch over to the temples. Circular tattoo-like designs on either side of her jaw. Seven teeth in either side of jaw. Wood, pigment. H 8in.

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ELEGANT SERPENTINE RITUAL RING. Chamba or Mumuye people, Nigeria. This nearly complete hand forged iron ring narrows and is twisted at both ends. The taller, flat end is the head of a snake. The other end (tail) forged into a socket probably contained ritual material. Rings such as this were sometimes used as “currency” for major transactions like bride wealth. Mid-19th century. On custom base. H 13in.

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FOUR WEST AFRICAN ANKLETS. (A) Wodaabe people, Niger. The Wodaabe people lead a nomadic life in the southern Sahara. Light weight anklets such as this are worn by young girls as a form of jewelry. The anklet is commissioned from a Hausa blacksmith who decorates it with symbols having meaning to the Wodaabe as instructed by the person who orders it. Brass. H 5in. (B) Kutu and Mongo people, Congo. This heavy anklet/leg band is forged by a blacksmith who pours molten brass into a mold. The mold is created by pressing a wooden form (B1) in specially prepared wet sand mixed with clay which hardens like concrete when dry. While the metal is still very hot, the ingot is bent over the trunk of a tree to achieve the correct shape. The anklet is worn by a woman during celebratory events as a sign of wealth. Her feet and ankles are protected with pads of cloth and leaves (litelele). See picture. The anklets are also a form of currency in important transactions. A high sheen is created by polishing the surface with a smooth stone. H 9in Weight 5.6lb. Wood form on custom base. H 12in. (C) A smaller version of the anklet in (B). Brass. H 4in. Weight 3.4lb. (D) Ngelima people, Congo. Spiral anklet with engraved diamond-shaped designs. Brass. H 4.5in. Weight 3.4lb.

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UNIQUE JUMPING BUSH BUCK WALL TAPESTRY. Shangaan people, South Africa. This tapestry was hand woven on commission by Shangaan women at the Masana workshop in Buckridge (Lebowa) northeast of Johannesburg in 1985. The weaving was done with hand carded, hand spun wool sheared from Karakul sheep using a traditional loom. Each tapestry made in this workshop is unique. Wool. 51in x 71in.

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THREE WEST AFRICAN HEDDLE PULLEYS. Each hand carved and on a custom base. (A) Guro people, Ivory Coast. Face with features of a Guro face mask. Wood, pigment. H 5in. (B) Senufo people, Ivory Coast. Hornbill bird. Pulley has a bobbin. Wood, H 6.5in. (C) Ewe people, Ghana. Abstract form with two heads. Bobbin present. Collected from Kwasi Gbobgo in Kpetoe village in 2005. See picture of heddle pulley in situ. Wood. H 5.5in.

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RARE EAGLE HEAD CREST MASK. Djimini subgroup of Senufo people, Mali. The eagle is considered to be the King of the birds and master hunter of fish. This sculpture presents the eagle in all of its majesty with a powerful beak and enormous wings. Two eaglets, one on each wing, are supported on perches under the protection of the eagle’s wings. This mask was worn during celebrations honoring the exploits of hunters and fishermen. The eagle’s extraordinary visual acuity is indicated by the large eyes and the large beak is the weapon it uses with great skill. The meaning of the words “Na bé de la” written on the back is unknown despite numerous inquiries here and Mali. There is a necklace of multicolored string. Wood, paint, string. H 23in.

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EXTRAORDINARY ROYAL AKUNITAN ROBE. Asante people, Ghana. Akunitan robes were commissioned by and exclusively used by the Asante King (Asantehene). This is one of the finest examples that should have a treasured place in any museum or private collection. The 16 hand and machine embroidered images arrayed in 4 lines of four represent the full spectrum of emblems of royal power and authority. However, it is the numerous seemingly abstract (but probably meaningful) embroidered designs that surround the 16 images which make this such a stunning akunitan robe. Black felt cloth with multicolored cotton thread. Collected in Bonwire, Ghana in 2005. 110in x 76.5in.

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SERPENTINE ROD CURRENCY. Iyembe people, Congo. Copper rods imported to Africa by Europeans as early as the 16th century were traded in many regions for goods such as palm oil, gold, and slaves. African blacksmiths cut the rods up, reshaped them, or melted them down. The molten copper was cast into a vast variety of objects, especially jewelry. In this case, the rod has been twisted into the shape of a snake, probably for some ceremonial purpose. A knob representing the head has been created at the upper end. The surface of the rod has many blacksmith’s hammer marks left when the heated rod was shaped into this spiral form. Copper. H 18in.

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CEREMONIAL NKUMI SOCIETY GONG. Jonga or Nkutshu people, Congo. Near the bottom, the surfaces of the gong are embossed with a linear dot design that probably indicates the “sweet spot” where the gong should be struck. In contrast to many African gongs, this gong resonates for several seconds after being struck. It belonged to a member of the Nkumi Society composed of elder blacksmiths known for their wisdom who were tutors to sons of the King’s family. As a symbol of membership in this association, the gong could be beaten only by members who attained the highest grade. The beater was a stick wrapped with rubber at one end. In some situations, the gong was used as currency. Dated around 1910. On custom base. Hand forged iron, rope. H 21.5in.

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WOMAN’S “CACHE SEXE” BELT. Kirdi people, Cameroon or Chad. The belt consists of iron beads and pointed, fang-shaped thin pieces of iron hung on string. Worn as a form of jewelry and to hinder unwanted advances from men during dancing ceremonies. On custom base. Hand forged iron, string. H 7in

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FIVE ANCIENT IRON OBJECTS. Bura/Pabir people, Niger. The Bura culture was discovered in the mid-1970s and was first investigated when excavation was begun at the “Bura site” in southwestern Niger in 1983. This work revealed that the Bura were an early iron age people determined by radiocarbon testing to date from the 3rd century AD until around the 15th century. They were probably descendants of people who are known to have smelted and forged iron in sub-Saharan Africa as early as 1200 BC. Because the objects in this lot are still partly embedded in the hardened iron rich soil in which they were found, the precise forms of the objects are partly obscured. However, the following objects appear to be present: a bird shaped object with a large beak, a hook, large figure eight objects, and manilla-form bracelets. The figure eight objects are reminiscent of the figure eight copper currency of the Mongo people in the Congo. What appear to be indigenous iron manilla-form bracelets were probably models for the copper and brass manilla-form currency exported to Africa by Europeans starting in the 15th century. Total weight 8lb. Ex Eric Robertson collection.

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LARGE HANDA OR KATANGA CROSS. Luba people, Congo. Copper ingots cast in the shape of an X or H were a form of currency originating in the copper-rich Katanga region of the Congo and other parts of the African copper belt. (A) Handas were distributed as a form of currency along major trade routes with values that generally increased with increasing distance from the point of origin. Molten copper obtained by smelting copper-rich malachite ore was cast in molds carved in clay, soapstone or wet sand. The upper side of the handa has a rippled surface formed as the molten, viscous metal cooled and solidified. In the Congo, it was reported that a goat would cost 3 handas, a male slave 3-5 handas and a female slave 5-10 handas. In some remote areas, handas were used as currency until the 1950s. On custom base. Copper. H 8in. Weight 2.4lb. (B) Malachite copper ore from Lumbumbashi, Katanga province, Congo.

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UNUSUAL WOODEN BELL. Kuba people, Congo. The figure seated on the bell has an unusually large head indicative of a person of great wisdom. The arms set back support the figure perched precariously at the edge of the bell and balance the position of the legs in the front. The juxtaposition of the arms and legs creates an interesting visual dynamic. The head, which serves as a handle, has a patina consistent with repeated ritual use. Geometric designs typical for the Kuba have been carved on the bell. The wooded clapper is suspended from a wood rod that passes through the upper part of the bell. Wood. H 11in.

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FIVE EXAMPLES OF AFRICAN HOE CURRENCY. Because the hoes used by different African tribes tend to have forms that are nearly as unique as their face masks, they are often named after the tribe itself. In general, the shape and weight of the blade was adapted to local farming conditions where it was used. Most hoes where functional tools which could also be used as currency, but in some instances a non-functional form was created to be used exclusively as currency. Each example in this lot was hand forged and is on a custom base. (A) Tsonga people, Swaziland. Objects of material culture from Swaziland are rarely found in Western private or museum collections. This hoe was forged from locally smelted iron and is believed to date from the mid-to-late 1800s. Iron. H 18in. (B) Ngelima and Mbole people, Congo. This thin feather-shaped blade, an example of currency derived from a hoe form, would be too fragile to actually use for farming. It comes from the region of the Ituri and Lomani Rivers where it was called “jembe” or “dupa”. As late as 1894, 3 “jembe” were required as payment by the Belgian colonial administration for “hut” taxes. The explorer David Livingston reported paying 3 “jembe” to have his party of 36 men and a number of animals ferried across Lake Bemba in the Congo. Iron. H 15in. (C) Source uncertain. Feather-shaped hoe strengthened by a central ridge. Iron. H 11in. (D) Chamba people, Nigeria. Reportedly from Kafancham village. Iron. H 14in. (E) Source uncertain. Unusual form with a socket for the handle. Forged from a single piece of iron. H (blade) 10in.