African Art Collection Auction Ending 9/28

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HELMET MASK. Mende people, Sierra Leone. The smooth surface of this mask provides a dramatic contrast to the sharply carved braided hair and facial scarifications. Complex hair braiding is a mark of internal and external beauty among the Mende people. A white cloth would have been wrapped around the knobs on top of the mask. Two slender slits below the chin allow the wearer to see where she is going. Custom mount. H 15in. Wood, pigment. Exhibited Free Library Gallery Philadelphia 2012. Published in Rosen, Rosen 2013 p39 Fig 39.

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FACE MASK. Yaure people, Ivory Coast. This mask has the typical tri-lobed hairstyle, T-shaped nose, and serrated border of a Yaure mask that is worn during celebrations related to the visit of important persons to a village. H 16.5in. Wood, pigment. See Bacquart 1993 p41-42.

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CEREMONIAL SPOON. Dan people, Liberia. Visible wear and encrustation in the bowl attest to the considerable age and use of this spoon. Prized spoons such as this were given to a woman who was an outstanding farmer and provider of abundant food for her family and community. It was used for serving cooked rice and millet during celebratory feasts. The large breasts are a symbol of abundance. The hair is made from braided plant fibers. H 23.5in. Wood, pigment, encrustation, plant fibers. See Bacquart 1993 p38.

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ROD PUPPET. Nyamwezi people, Tanzania. An old puppet such as this was probably used in funerals as a medium for communicating with ancestors. Nails in the eyes and the metal cap would shine during nocturnal torch light ceremonies. The body is wrapped in cloth that holds fetish material in the front and back. On custom base. H 13.5in. Wood, cloth, rope, beads, metal.

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GOLDWEIGHTS (4). Ivory Coast/Ghana. Three square geometric forms (1-2in) and one fish (2.5in). Used to weigh gold on a balance scale. Brass.

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GUNYEYA FACE MASK. Dan people, Liberia. Characterized by a prominent, protruding forehead that occupies half of the face, large round eyes, prominent lips, and a triangular chin. Masks such as this were worn by men in races. H 9in. Wood, pigment. See Bacquart 1993 p36-37 and Rosen, Rosen 2013 p22-23.

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THROWING STICK. Ingesanna people, Sudan/Ethiopia. Throwing sticks were used for hunting, as weapons in war, and in some rituals. They are known to have been used since the Egyptian Middle Kingdom period (2050 BC-1652 BC). Wooden throwing sticks were ultimately supplanted by iron throwing blades. The blade of this stick was carved in the form of an animal head with engraved complex geometric designs. Because of their perishable nature and the abuse they receive when used, well preserved examples such as this are rare. H 21.5in. Wood, pigment.

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ABSTRACT BOGOLAN (MUD CLOTH) TEXTILE. Bamana people, Mali. Painted with pigments derived from plants and soil, this dramatic textile is composed of 8 hand woven cotton strips. The designs have symbolic significance L 69in. W 45in. Cotton, pigments.

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FACE MASK. Anang (Ibibio) people, Nigeria. The Y-shaped post at the top of this mask is probably a reference to the confluence of the Niger and Benue Rivers that define the geography of Nigeria. Together with the horse, this configuration is a reminder of the Nigerian coat of arms. The significance of the eye on the stem of the Y is not known. Facial designs represent traditional tattoos. A band of rubber from a bicycle inner tube was used to hold the mask in place and a costume was attached to nails around the sides of the mask. H 19.5in. Wood, paint, nails, rubber. Exhibited at Free Library Gallery Philadelphia 2012. Published in Rosen, Rosen 2013 p150 Fig 209.

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FACE MASK. Igbo (Ibo) people, Nigeria. Attached in the center of the coiffure of this old mask is a large snail (ejula) that is a delicacy as well as a symbol of femininity, flanked by small calabashes. When filled with plant material and other magical substances, the shell and calabashes became amulets to ward off evil spirits. H 8in. Wood, paint. Published in Rosen, Rosen 2013 p123 Fig 170.

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RELIQUARY GUARDIAN FIGURE. Shamye Kota people, Gabon. Reliquary figures of the Shamye tribe of the Kota people have the almond-shaped face seen in this example. Made of wood clad in copper sheeting and wire, these sculptures were placed on top of baskets containing the bones of Chiefs to guard them against harm. H 21.5in. Wood, copper, nails. See Bacquart 1998 p120-123.

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OKUY FACE MASK AND PASSPORT MASK. Punu people, Gabon. The Okuy mask of the Punu people is an idealized portrait of a favored female ancestor who returns as a guardian figure for a funeral or other important ceremony. The white pigment on the face refers to death and ancestors. Both masks have typical facial scarifications. The hair is divided into three lobes with the large central lobe split by a dramatic comb-like device. During performances, the masker towers above the audience on stilts. Mask H 13in. Passport mask H 7in. Wood, pigment. See Rosen, Rosen 2013 p164-169.

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JANUS HEAD CREST MASK. Temne people, Sierra Leone. This mask with the same face in the front and back and symmetrical coiffure was nailed to an armature that rested on the wearers head and shoulders. Nails used to attach it to the armature remain on the under surface where a hole in the center contained a rolled piece of paper inscribed with ritual text. Bust masks such as this were worn by men shrouded in fancy costumes during Jolly Society masquerades. The facial markings represent traditional tattoos. Feathers were put in the holes in the coiffure. H 13in. Wood, paint, mails. See Rosen, Rosen 2013 p64-65.

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WOMAN’S ASO OKE CEREMONIAL CLOTH. Yoruba people, Nigeria. This traditional cloth of 13 hand woven strips was made from cotton and glittering Japanese metalized Lurex plastic thread. The outside surface of the cloth is covered with warp float decorations. Gaps in the cloth were made by placing a weaver’s sword among the warp threads. The gaps allow for ventilation. L 71in W 43in. See Clarke 1997 p94-111.

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AVIAN GOLDWEIGHTS (4). Ivory Coast/Ghana. Rooster with spurs (2.75in) Stork (2.5in) Knot bird (2in) Hornbill with long neck (2.5in). The spiral motif on wings is symbolic of life and regeneration. The knot is symbolic of wisdom; on a bird it refers to state authority. Brass.

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NKONDI NAIL FETISH. Kongo people, Democratic Republic of Congo. The body of this sculpture wears powerful magical substances wrapped in cloth bundles called Nkissi. A box with a glass or mirror face on the abdomen has similar power. The force of these substances is activated when the owner of the sculpture or a ritual specialist (Ngang) hammers objects like nails into it. This very powerful Nkondi has glass eyes and he carries a spear in a clenched fist which he uses to attack and punish a person or spirit that has placed a curse on the owner. H 26.5in. Wood, nails, cloth, glass, rope, pigment. See Bacquart 1993 p128-133.

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PAIR OF CHI WARA HEADDRESS MASKS. Bamana people, Mali. These are fine, old female and male sculptures. They represent the mythical roan antelope which the Bamana people believe taught them how to farm. The female carries an infant antelope on her back and the body of the male displays complex open fretwork. Chi wara masks are worn on the top of the head attached to tight-fitting basket caps. They appear as male-female pairs during the planting season to strengthen the fertility of the soil and encourage a successful harvest. Female H 30in. Male H 32.5in. Wood, pigment, goat hair. See Rosen, Rosen 2013 p 94-95.

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WEAVING SWORDS (2) AND WEAVING NEEDLE. Yoruba people, Nigeria. All hand carved wood on custom bases. Swords used to separate warp threads. (A) Sword with large triangular key hole in handle. L 42in. (B) Sword with knob on handle end. L 34.5in. (C) Weaving needle used to insert weft threads between warp threads that have been separated by a sword. L 19.5in.

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THROWING KNIVES (2). Nbaka people, Democratic Republic of Congo. (A) Linear designs have been incised on one surface of this old weapon which was a prestige and ceremonial object not used in warfare. The leather wrapping on the handle has been lost. H 18in. Iron. (B) This old aerodynamically balanced blade with sharp edges and a wood handle was used as a weapon. The multiple points and blades were designed to inflict serious injuries. On custom base. H18in. Iron, wood. Exhibited at the Pen and Brush Gallery New York 2003.

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MAN’S KENTE WRAP. Ewe people, Ghana. This cloth consisting of 21 hand woven, hand sewn strips has about 9 figural supplementary weft designs (called “scriptures” in Ghana) per strip totaling nearly 200. There are at least 20 different “scriptures” including animals, hands, persons, birds, trees and symbolic abstract designs. The considerable age of the cloth is evidenced by the deterioration limited to brown warp stripes caused by interaction between the dye in the fibers and light. L 126in. W75in. Cotton.