African Art Auction Ending 9/28

More Info / Bid Track Item

BLACKSMITH’S BELLOWS (2). Used to force air into heated coals. The bellows were operated by an assistant who pumped air with sticks attached to leather covers firmly attached to the bowls. Note the flange where the leather cover was firmly tied around the lip of the bowl. (A) Baule people, Ivory Coast. Heart-shaped double bowl form decorated with the head of a hornbill bird. The hornbill is regarded as an ancestral spirit who guides the blacksmith’s work. The assistant would pump the bowls alternately to assure a steady stream of air. Carved from a single block of wood. On custom base. Wood. H 25in W18in. (B) Toma people, Liberia. This bellows with a single bowl has a gun barrel at the end closest to the coals. The operator (usually a boy apprentice) sat with his legs across the long handle. Wood, iron. L 41.5in. Both exhibited at the Pen and Brush Gallery, New York 2003.

More Info / Bid Track Item

ASAFO MILITIA FLAG. Fante people, Ghana. An emblem representing a militia Company, this flag was displayed in parades in the town or village where the Company was located. The appliqued images (identical on both sides) tell a story that glorifies the militia. In this case, the No 4 Company identifies with Sasabonsam, a fearsome red wizard who lives in or near a silk cotton (Bombax or Odum) tree where the soil is red with the blood of his victims. The patterned red cloth and piercing look in his eyes enhance his malevolent appearance. The dwarf figures below the tree probably represent members of a rival Company. By displaying this flag, the No 4 Company warns its rivals that it has the power of Sasabonsam. Made from plain and printed cotton cloth with appliqued figures. 59.5 in x 41in. Exhibited at the Free Library Gallery Philadelphia 2012 and the SMA Fathers Museum of African Art Tenafly, NJ 2013. Published in “Emblems of Power: Asafo Flags from Ghana” p.89. This 103 page book offers descriptions of more than 50 Asafo flags and a detailed history of the Asafo militia tradition. It is only available from the authors at ppr2001@med.cornell.edu.

More Info / Bid Track Item

CHI WARA HEADCREST MASK. Bamana people, Mali. This mask represents a female roan antelope. In Bamana mythology, knowledge of farming came from observing the roan antelope, aardvark, and pangolin. Chi wara are danced in male/female pairs with the male in the lead. They are worn on top of the head, attached to a basketry cap. In this case, the lower part represents the body of an aardvark and the horned superstructure the roan antelope. The carved zig-zag design in the neck refers to water. Note the finely carved designs, especially on the antelope’s face. Wood, pigment. H 39in.

More Info / Bid Track Item

GOLD WEIGHTS (5). Ivory Coast. Used for weighing gold dust on a balance scale. Hornbill bird on base (2in); wild pig (1.5in); 2 crocodiles with a common body (3in); fan pendant (2in); butterfly pendant (1in). Brass

More Info / Bid Track Item

WOMAN’S DANCE SKIRT. Kuba people, Democratic Republic of Congo. This old dance skirt was made from hand sewn, hand woven raffia panels with very complex, hand embroidered designs typically found in Kuba textiles. The panels can easily be separated Raffia textile. 116.5in x 27.25in.

More Info / Bid Track Item

COPTIC PENDANTS (4). Ethiopia. Worn as amulets by Coptic Christian people. Three cross forms and one star. Silver/nickel alloy. 1.5in-2.25in.

More Info / Bid Track Item

CEREMONIAL AKUNINTAN (“OHENE AKUNINTOMA”) CLOTH. Ashanti people, Ghana. This very rare textile belonged to the wife of a Paramount Chief. A number of towns and villages report to a Paramount Chief who in turn reports to the King. Among the embroidered symbols representing the authority of the wearer is that of the Sankofa bird who has a habit of repeatedly looking over its back. It symbolizes wisdom gained from past experience. The grid pattern of the designs is typical for an Akunintan textile. This cloth was created by a master of this embroidery technique, Opanin Akwasi Bamieh in Kumasi, the Ashanti capital city. It is in excellent museum quality condition despite an estimated age of at least 50 years when it was collected in 2005 in Kumasi. Exhibited at the Pen and Brush Gallery New York 2006. Black felt textile with embroidered multicolored designs. 100in x 55in.

More Info / Bid Track Item

PRESTIGE SPOON. Dan people, Liberia. Used to serve rice to villagers at festivals, spoons such as this were given to a woman deemed to be especially hospitable and generous. The handle of this example personifies the beauty of such a woman with a multilobed hair style. In profile, the face suggests the appearance of a specific woman who was the recipient of this spoon. Wood, pigment. H 18in. See Bacquart 1998 pp 36-38.

More Info / Bid Track Item

ELU FACE MASK WITH GOURD. Ogoni people, Nigeria. When opened, the hinged jaw displays multiple cane teeth. Elu masks are worn by men who perform masquerades that refer to events, persons, or community traditions. This mask has round black scarifications on the temples and braided hair hanging over each ear. The gourd on her head may be a reference to farming. It is necessary to hear the song that accompanies the performance and see the dancer’s outfit to understand the intended message. The face of this old mask was originally painted white with a chalk compound that has darkened with age. Wood, pigment, cane sticks, raffia ties. H 13in. Exhibited at the Free Library Gallery Philadelphia. Published in Rosen/Rosen 2013 p. 113 Figs 152-153.

More Info / Bid Track Item

WOMEN’S INDIGO WRAPS (3). Marka/Dafing people, Burkina Faso. All are softened from repeated washing. Collected in 2006. (A) Tie-dyed old wrap with a braided tie rope. Made from 11 hand sewn strips of hand woven cotton cloth. Designs include birds, men, camels (or goats), airplanes, and the words “Tindona ota BEMBAM Ba’ Amidou” which might be the owner’s name. Cotton, indigo 73.5in x 44in. (B) Hand woven from deep indigo cotton yarn with a warp stripe design in 13 hand sewn strips. Cotton, indigo 62in x 43in. (C) Hand woven indigo warp stripe cloth made from 12 hand sewn strips. Cotton, indigo 58in x 40in.

More Info / Bid Track Item

HEAD CREST MASK. Temne people, Sierra Leone. The faces of the upper kneeling female figure and the lower female bust display painted and carved Hindu-inspired motifs typical of Mami Wata figures. Cowrie shells in the coiffure of the bust and jewelry of the kneeling figure are references to wealth and the power associated with wealth which are attributes of Mami Wata, a water spirit, as are the snakes held by the kneeling woman. This mask was worn on a pad on top of the head of a member of the Jolly (pronounced Jollay) Society who was shrouded by a costume suspended from nails in the base. Wood, paint, nails. H 29.5in. Published in Rosen/Rosen 2013 p.84 Fig 108.

More Info / Bid Track Item

WOMAN’S WRAP. Ewe people, Agbozume Ghana. This textile consists of 15 hand sewn, hand woven strips with blue, red, and grey warp stripes. Various figural designs (“scriptures”) include hands, spears, a hat and a crane-like bird. Collected in 2005 from Kwaku Gyasi who reported that it originally belonged to a queen mother who died “90 years old”. Cotton. 74in x 51in.

More Info / Bid Track Item

OLD VOODUN FEMALE FERTILITY FIGURE. Ewe people, Togo. It is not unusual for Voodun sculptures to be painted and refreshed with new paint over time. The age and importance given to this figure is evidenced by multiple coats of paint applied to it over time (white, brown silver, green). The appearance of the base and the pattern of paint loss suggest that this figure was placed in a shrine where it was exposed to the weather. Note the neck rings and cheek dots. The nipples are nails the heads of which were painted red. The bead necklace is original. Wood, paint, beads, nails. H 17in.

More Info / Bid Track Item

MAN’S WRAP. Ewe people, Agotime village Ghana. This weft-faced cloth dating from early in the 20th century was collected in 2005 from Owoahene Acheampong. The wide range of colored cotton threads seen in this textile reflects the enthusiasm of Ewe weavers in more remote villages who only recently had access to this material early in the 20th century. Made from 20 hand woven, hand sewn strips. Cotton. 131in x 64.5in.

More Info / Bid Track Item

FACE MASK. Anang (Ibibio) people, Nigeria. This mask was carved from a single block of wood. The superstructure is an off-white spotted snake arched over a red water bird decorated with black and white spots. The snake, water bird, and the decorative markings on the pink face are references to the Hindu-inspired water spirit, Mami Wata. A band of rubber from a bicycle tire inner tube attached to the back was used to hold the mask in place. Wood, paint, rubber, nails. H 20.5in. Published in Rosen/Rosen 2013 p. 152 Fig 211.

More Info / Bid Track Item

TRADITIONAL BOGOLAN TEXTILE (“MUD CLOTH”). Bamana people, Mali. Made from 8 hand woven, hand sewn cotton strips. Painted with traditional designs using pigment derived from soil. Cotton textile, pigment. 63in x 43in.

More Info / Bid Track Item

RARE HELMET MASK (NWENKE). Bobo people, Burkina Faso. Used in initiation and funeral ceremonies, this mask represents an important spirit. The nose forms a long saggital crest extending nearly to the lower tip of the trapezoidal face. There are two small eye holes and the ears are represented by small concave wooden blocks lateral to the eyes. A semilunar attachment that swings from side to side has been tied to extend over the forehead to the dome of the helmet. The upper two-thirds of the mask is a rectangular plank that is perforated by triangular holes. A two-tiered box measuring 9x4in with small holes in its sides (? port holes ) is firmly attached to the front of the plank just above the dome of the helmet. A small wooded cylinder ( ? chimney ) sits on top of the box. The significance of the box is obscure, but it resembles a house or an old-fashioned river boat. The word, “bato”, has been painted on the back of the plank behind the box. Extensive research with persons from Mali and Burkina Faso did not uncover an interpretation of the word “bato”. It may be a misspelling of the French word for a boat, “bateau”. The triangular holes in the plank and the triangular surface designs created with enamel paint represent “sebe” or amulets with magical properties. The performer wears a bulky costume made from hemp fibers. Wood, paint, string. H 47in. Exhibited at the Free Library Gallery Philadelphia 2012. Published in Rosen/Rosen 2013 p 106 Figs 142-144.

More Info / Bid Track Item

AKYEMPIM MAN’S WRAP. Ashanti people, Bonwire Ghana. “Akyem” is the Ashanti word for a shield. It is a symbol for heroic deeds and bravery. According to our informant, Akyempim refers to “thousands of shields which our ancestors were behind during the war with the British and it was their protection and their defense and means like if you are fighting with Ashantis and you kill thousands another thousand will come and fight you until they defeat you”. Shields are represented in the design of the cloth by the criss-crossing weft blocks. This cloth was woven by Nana Yaw Okai, a famous Ashanti weaver and one-time Chief of Bonwire. The cloth is composed of 24 hand woven, hand sewn strips, and was reported to be more than 75 years old when collected in 2005. Indigo cotton, silk. 124in x 72in.

More Info / Bid Track Item

CEREMONIAL SWORD. Yoruba people, Owo Nigeria. The thin blade with an openwork decorative design indicate that this is a ceremonial rather than a functional weapon. Swords such as this were the property of important, wealthy members of the royal Court or the King. The form is derived from a type of ceremonial sword dating to the 16th century regalia of the neighboring kingdom of Benin. Part of the handle is bone. Hand forged iron, bone. H 42in. On custom base.

More Info / Bid Track Item

RAFFIA LOOM. Kuba people, Democratic Republic of Congo. This single heddle loom is a type that was used widely in West Africa until the early 20th century, but now it is only found in areas of the Democratic Republic of Congo and the Central African Republic no longer safely accessible where limited amounts of raffia cloth are still produced. This example said to date from the last quarter of the 20th century was collected in 2004. It is remarkable because a partly woven raffia textile remains on the loom. Raffia fibers, raffia cloth, wood. L27in x W 44in. (See attached picture and Lot # 5 for a complete raffia dance skirt). Exhibited at the Pen and Brush Gallery New York 2005.