African Art Collection Auction Ending 9/28

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HEADRESTS (3). Although commonly referred to as “headrests”, these supports are actually positioned behind the recumbent person’s ear, largely supporting the base of the skull and neck. They were used to protect the elaborate coiffures in these tribes. (A) Turkana people, Kenya H 17in. Wood, leather thongs; (B) Arse people, Ethiopia H 7in. Wood; (C) Oromo people, Ethiopia 7in. Wood, pigment.

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SNAKE FETISHES (2). Lobi people, Burkina Faso, Ivory Coast. The Lobi people have used fetish objects or charms in the form of snakes for centuries, a custom that still flourishes. They are recommended by diviners to provide protection against evil spirits or to help in resolving problems. They are placed in personal or family altars. Snake fetishes with multiple heads are considered to be especially potent. On custom bases. Exhibited at the Pen and Brush Gallery, New York 2003. Straight snake 25in.; curved snake 22in. Hand forged from native smelted iron.

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FACE MASK. Temne people, Sierra Leone. This mask was worn at a Jolly Society celebration. It is part of an elaborate “fancy” costume that was attached to the mask with nails and was supported by a wire armature that is now folded inside the mask. The mask depicts a royal person but the intended message can only be known from songs and music at the performance. H 11in. Wood, paint, nails, wire. See Rosen, Rosen 2013 p.58-59.

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MAN’S WRAP. Ewe people, Ghana (Agotime region). This cloth consists of 19 hand sewn, hand woven strips. In contrast to the usual Ewe cloth (see Lot #20) with warp as well as weft designs, this example consists only of weft bands of varying width and color. Although several strips have the same weft designs, they are slightly offset so that the duplication is not apparent. This is a rare form of Ewe textile that may date from early in the 20th century. L 137in. W 76in. Cotton.

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GOLD WEIGHTS (4). Ivory Coast/Ghana. Three square (1.75in) one scorpion (3.5in). Brass.

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FEMALE DIVINATION PUPPET. Nyamwezi people, Tanzania. The arms are articulated at the shoulders with wooden pegs. She wears a seed amulet suspended by a cord around her neck. The metal plaque nailed to her upper abdomen shone brightly during nocturnal torch light ceremonies. The location of the plaque and the protruding abdomen suggest that she may have been a fertility fetish. Twisted pieces of rope have been inserted in her scalp to simulate hair. On custom base. H 20in. Wood, metal, string, seed. Exhibited at Pen and Brush Gallery New York 2005.

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SLIT GONG. Zombo people, Democratic Republic of Congo. The Zombo people are related to the Yaka and other tribes near Congo’s border with Angola. Slit gongs were used in this region by ritual diviners. They typically have a carved human head at one end. This exceptional example has 2 faces surmounted by a hornbill bird which is associated with ancestral spirits. The interior of the slit is coated with white kaolin pigment as an aid for communicating with ancestors. The drum stick is included. H 25in. Wood, pigment. See Bacquart 1993 p.184-185.

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GONGOLI MASK. Temne people, Sierra Leone. Gongoli is danced by a man acting as a clown wearing a disheveled raffia costume. He appears during women’s initiation ceremonies of the Sande and Bundu Societies. They serve as a comical antithesis to the finely featured Sowei helmet mask. Gongoli are varied but all have deliberately ugly masculine features with a large nose and ears, big mouth and in this case a beard and bald head. A piece of cloth that covered the wearer’s head is attached to the back. H17in. Wood, pigment, cloth. Exhibited at Free Library Gallery 2012. Published in Rosen, Rosen 2012 p.54-55 Fig 61.

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OLD WEST AFRICAN COPPER BRACELETS (3). Each is manilla-form with circumferential incised decorations and florette-like designs on one. Bracelets such as these were used for trade, adornment, and as a store of wealth. All originally bright copper-colored, but they now show obvious patina from age. Each on a custom base. (A) H 4in. (B) 3in. (C) 2.5in. Copper.

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BLOLO BLA FEMALE SPIRIT SPOUSE. Baule people, Ivory Coast. This statue was carved according to instructions from a diviner. It represents a man’s spouse in the spirit world, a figure who is consulted in dreams for help in solving personal problems. It is kept in the owner’s room as an altar. This statue has the carved base, typical short legs slightly bent at the knees, bulging eyes, and hands resting peacefully on the abdomen. H 17in. Wood, pigment. See Bacquart 1993 p.48-49.

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FEMALE HEAD CREST MASK. Temne people, Sierra Leone. This female bust was supported by an armature that rested on the wearer’s head and shoulders as he was enveloped in a fancy dress costume. As is true of most of these head crest busts, the green face is decorated with colored spots, in this case red, that contrast with the base color. The neck rings are considered a sign of good health and beauty. H 10.5in. Exhibited at Free Library Gallery 2012. Published in Rosen, Rosen 2013 p.64 Fig 75.

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STAR AND CROSS PENDANTS (5). Coptic Christian, Ethiopia. 1.5-2.75in. Silver/nickel alloy.

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WEDDING BLANKET. Bozo people, Mali. This cloth was collected from Alae, a 74-year-old weaver in Gyambe, a Bozo fishing village on an island in the middle of the Niger River near the town of Mopti. The cloth consists of 10 hand woven strips. L 103in. W 59in.

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ELU FACE MASK. Ogoni people, Nigeria. This mask has the articulated mandible with cane teeth, full lips, upturned nose, facial scarifications and narrow eyes of a typical Elu mask with an elaborate braided coiffure. Elu masks are often caricatures of members of the community who are depicted in masquerades about humorous, happy, and tragic events recorded in oral history, or recent events. H 9.5in. Wood, pigment, cane, string. See Rosen, Rosen 2013 p.108-117 for other examples.

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SEATED FERTILITY FIGURE. Ewe people, Ghana. The arms are articulated at the shoulders with nails. The right palm faces up to receive offerings and the left palm is turned inward. This figure was placed in an altar by a Voodun priest and consulted to assist women with fertility problems. H 17in. Wood, paint, nails.

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CEREMONIAL BELLS (2). West Africa. (A) This bell was made by welding two separate conical bells together. The junction serves as a handle. Bells such as this are found throughout West Africa where they are part of the musical accompaniment at various ceremonies and festivities. On custom base. H 14.5in. Iron. (B) Sickle-form ceremonial knife with bell in handle. Yoruba people, Nigeria. An identical sickle-form knife, attributed to the Yoruba people, was exhibited at the Museum of Natural History in New York City with the following description: “Bell form of sickle associated with Obatala, the deity who shapes the human form in the womb”. H 16.5in. Iron.

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GONG BEATER SCULPTURE. Bamum people, Cameroon. In addition to their use as musical instruments, gongs played an important role in regulating community life. The gong beater held a significant position in the royal court as the town crier. He would walk through the village beating the gong to announce the coming of the king so that women who should not see him could hide. He also announced royal decrees, important news, and the time. This figure with a wide open mouth depicts a royal gong beater in full-throated action. The way the pigment on the cheeks has been rubbed away suggests that this sculpture had a ceremonial role in which the cheeks were stroked, possibly to enhance the gong beater’s voice. There is more than one layer of pigment encrustation over the entire figure, some of which may have been libations. (See Lot 44 for related figure). H22in. Wood, pigment.

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38. CEREMONIAL PRESTIGE AX WITH SNAKE. Bamileke people, Cameroon. In many animistic societies, sprits residing in snakes were regarded as intermediaries between man and the ancestors. At the top of the staff, the stem of the ax blade has been inserted in the mouth of a human head symbolizing the owner’s important position in the community. This message is reinforced by the python slithering up the back of the shaft, holding the man’s head in its gaping mouth. The spiritual power of the snake is transferred from its mouth through the man’s mouth to the ax blade. On custom base. H 30in. Wood, iron.

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OLD WEST AFRICAN BRASS BRACELETS (3). (A) Large manilla-form bracelet with raised and grooved designs. H 3.5in. (B) Circular bracelet with fine engraved designs H 3in. (C) Manilla-form bracelet with zigzag designs. H 2.5in. Brass bracelets were used for trade, adornment, and as a store of wealth. Originally having a bright brass color, they now have a deep patina from age. Each on a custom base.

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FACE MASK. Anang (Ibibio) people, Nigeria. The arms of the female figure seated on top of this mask are articulated at the shoulders with nails. She has the same hair style with braids hanging on either side of the face as the mask. The mask is decorated with typical facial tattoo designs. Custom wall mount. H 18in. Wood, pigment, nails. See Rosen, Rosen 2013 p.147 Fig 205 for similar example.