A Curated Auction from the Rosen African Art Collection in New York Ending 4/9

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OKUY FACE MASK. Punu people, Gabon. It is worn by a member of the Okuy Society who dances on stilts at funerals. The diamond-shaped forehead scarification has 9 bumps, and there are oval scarifications at the corners of the mouth. The coiffure is divided into 3 sections with a large central lobe. Wood, pigment. H 13.5in. See Rosen/Rosen 2013 pp 164-169.

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EKUK FACE MASK. Kwele people, Gabon. Worn by a member of the Bwete Society, this mask represents the head of a Bongo antelope which is considered to be forest spirit. Ekuk means “things of the forest”. Wood, pigment. H 23in. See Rosen/Rosen 2013 p 170.

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CHI WARA HEADCREST MASK. Bamana people, Mali. This mask represents a male roan antelope. In Bamana mythology, knowledge of farming was acquired by observing the roan antelope, aardvark, and pangolin. The vertical form is characteristic of central and eastern Mali. Chi wara are danced in male and female pairs with the male leading the female. This mask is attached to a cloth covered basketry cap. Tufts of animal hair are held in place by leather caps at the tips of the horns. Wood, beads, leather, animal hair, cloth, basketry cap, string. H 37in (with cap). See Rosen/Rosen 2013 pp 94-95.

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KASSA WEDDING BLANKET. Peul (Fulani) people, Mali/Niger. This textile provides protection against mosquitoes and warmth on cold nights. It was made from 9 hand woven 6in strips loosely sewn together so that a damaged strip can more easily be replaced. The decorative designs have an hourglass shape with central tufting. Cotton. 99.5inx54in. Exhibited at the Pen and Brush Gallery, New York 2009.

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KOTA-STYLE RELIQUARY FIGURE. Obamba subgroup of the Kota people, Gabon. These copper-clad sculptures were guardian figures inserted in the tops of bark boxes that contained the bones of ancestors. Among the 6 forms of reliquary figures, the Obamba style features the large curved coiffure seen in this example. Copper, nails, wood. H 19in. See Bacquart 1998 p 120-123.

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BEAUTIFUL VEINED PAPER WEIGHTS (2). Northeast coast of Madagascar. Made from ocean jasper found along the shore line that is mined at low tide. H 4.5in; 5.5in.

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ELU FACE MASK. Ogoni people, Nigeria. Masks like this are worn by men in masquerades that refer to various events and community traditions. The hinged jaw can be opened and closed with an audible click by movements of the wearer’s mouth. This example has 4 large teeth that are visible when the mouth is open. Unusual features are the orange color of the face and an earring. This mask was used by the Ogoni people or a neighboring tribe. Wood, paint, glass beads. H 9in. Exhibited at the Free Library Gallery, Philadelphia 2012. Published in Rosen/Rosen 2013 p 117. See Lot #20.

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TRADITIONAL BOGOLAN (“MUD CLOTH”) TEXTILE. Bamana people, Mali. Hand painted with a black dye derived from mud. This example displays human figures along the borders and an intricate central design. It consists of seven hand woven, hand sewn strips. Collected in 2005 from Adramante Tandia. Cotton. 33inx59in.

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ODE-LAY SOCIETY HEADCREST MASK. Temne people, Sierra Leone. The Janus base of this old three-tier mask consists of two slightly different faces with Hindu-inspired features. Rising like a column from the Janus base is the bust of a fierce horned animal around whose neck are coiled two snakes. A small female bust is situated at the top. The knob on the forehead of the forward-facing Janus face is an amulet. Wood, paint. H 30in (without horns). See Rosen/Rosen 2013 pp 58-85 and attached text.

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FEMALE ROD PUPPET. Marka people, Mali. Hammered brass attached with nails to the face is reminiscent of a Marka-style mask. The arms are articulated at the shoulders. It is dressed in a hand woven cotton robe. On custom base. Wood, cloth, brass. H 21in. Exhibited at the Free Library Gallery Philadelphia 2011, the Pen and Brush Gallery New York 2008, and the SMA Fathers Museum of African Art New Jersey 2010. Published in Rosen/Rosen 2012 p.77.

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BLOLO BIAN MALE SPIRIT SPOUSE FIGURE. Baule people, Ivory Coast. The Baule believe that each person has a spirit spouse who helps solve personal and spiritual problems. The Blolo Bian statue, representing that spirit, is kept in the person’s room where it is offered libations. This finely carved example has elaborate body scarifications. Wood, pigment. H 14.5in. See Bacquart 1998 pp.48-49. (See Lot#13).

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ANCIENT ROYAL SCEPTOR. Bamum people, Cameroon. Excavated at the site of a Bamum royal palace. Spear form with points at each end. One point is decorated with a turtle. Hand cast brass with oxidized patina. H 19.5in.

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BLOLO BLA FEMALE SPIRIT SPOUSE. Baule people, Ivory Coast. Wood, pigment. H 16.5in. (See Lot# 11).

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ASAFO MILITIA FLAG (FRANKAA). Fante people, Ghana. This flag expresses the proverb, “You claim to be a man, but we have weighed your load and found you to be weak”. With this image, the Tuafo No 1 Asafo Company claims that it is stronger than a rival Company. The flag is dated “28/02/85” and was commissioned by the Company’s leader, Safohene Takyi. Cotton cloth with hand sewn appliquéd figures and embroidered details. Identical images on both sides. Clothing of the Chief and the man holding the scale is crushed velvet, an unusual feature. 62inx40.5in. Exhibited at the Free Library Gallery Philadelphia 2012 and the SMA Father’s Museum of African Art New Jersey 2013. Published in “Emblems of Power: Asafo Flags from Ghana” 2013 by MS Rosen/PP Rosen p78. This 103 page book with detailed descriptions of this and about 50 other Asafo flags and a detailed history of the Asafo militia tradition is available ONLY from the authors at ppr2001@med.cornell.edu. Also see attached picture.

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MAN’S PRESTIGE (ADANUDO) CLOTH. Ewe people, Ghana. This cloth was collected in 2005 from Kwame Amoh in a village near the town of Kpetoe, an Ewe weaving center. Mr Amoh said he had owned it for many years and had worn it on important occasions. It features a single warp pattern in all of the 19 strips and many varied weft blocks. Single strips along each border lacking weft blocks illustrate the earliest form of Ewe weaving. Hand woven, hand sewn cotton. 115inx68in.

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PRESTIGE SPOON. Dan people, Liberia. Spoons such as this were awarded to the most hospitable and generous woman in a village. They were used to serve rice to villagers during festivals. Wood. H 18in. See Bacquart 1998 pp 36-38.

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GOLDWEIGHTS(4). Ivory Coast. Mudfish, rooster with snake, stork, antelope. Hand cast brass. 3in to 4in.

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KPELIYE FACE MASK. Senufo people, Ivory Coast. A chameleon is situated at the top of this mask between two short antelope horns. There is a peg-like beard below the mouth between two straight legs. This mask appears at Poro Society ceremonies. Wood, pigment. H13.5in. See Bacquart 1998 p 74.

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KENTE WRAPS (2). Ewe people, Ghana. (A) Woman’s wrap consisting of 13 hand woven and hand sewn strips with 5 different warp stripe patterns. Multiple representational designs known as “scriptures” including hands (x2), a man and bird, a man holding a snake, and a man with a hat. Obtained in 2005 from Osei Kojo who said it was then at least 65 years old. Cotton. 70inx42in. See Adler/Barnard 1992 Figs. 85-103. (B) Man’s robe made from 19 hand woven, hand sewn brown strips having a red and white warp dot pattern and various weft blocks. There is one leaf-shaped “scripture”. Collected from Artists Alliance Gallery Accra 2005. Cotton. 103inx59in.

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WARP IKAT MAN’S ROBE. Baule people, Ivory Coast. In the warp ikat method, sections of white warp threads are wrapped to resist the dye before the threads are immersed in indigo dye. Plain brightly colored weft threads are used to create the warp faced pattern. In this example made from 17 hand woven strips, the selvedge edges of each strip have been finished off with bright lavender thread and the ends have a fine white fringe. Cotton. 108inx72in. Ex Museum of African Art New York. See Gillow 2003 pp 76-77.