African Art Auction Ending 9/13

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SERPENTINE CEREMONIAL WEAPON. Tusyan/Toussian/Tusia people, Burkina Faso and Ivory Coast. Facing an insurrection by the Tusyan people, the French colonial administration banned their possession of weapons. As a form of resistance, the native Snake Society adopted this S-shaped bayonet form that could be carried on one’s shoulder. On custom base. Iron. H31in. Exhibited at the Pen and Brush Gallery New York 2003.

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METAL PARRY SHIELD. Tamberma/Batammaliba people, Togo and Benin. In close quarter battle, this shield was used to fend off poles, knifes, and swords. Unusual example with hook. Handle is wrapped with cloth and rope. On custom base. H26in.

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BLACKSMITH’S STOOL. Bozo people, Mali. In contrast to most African stools made from wood, terra cotta stools like this were used by Bozo blacksmiths because they were fire resistant. Before beginning his work, the blacksmith performed ritual ablutions over the stool which was placed in a bowl to catch the water. See picture of a similar stool in a blacksmith’s workshop in the Bozo village, Tongarogo, along the Niger River in Mali in 2003. Terra cotta. H9.25in W12in

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TRADITIONAL WEST AFRICAN BLACKSMITH’S TOOLS. The presence of iron in West Africa predates the first arrival of Europeans in the fifteenth century. The process of smelting in which ore from the earth is brought together with fire and air was imbued with mythical qualities associated with fertility, conception, and birth. Iron ore was likened to blood of the earth which during smelting was transformed into a symbolic fetus, the bloom containing iron, that was born from a metaphorical womb, the furnace, from which the slag or placenta was delivered. In some communities, blacksmiths smelted iron ore, but more often smithing and smelting were done by different families. Each was a sacred activity exclusive to men requiring secret rituals that were passed along with the smith’s tools to apprentices who were often male members of the smith’s family. All tools on custom bases. (A) Old hand-forged anvil H8in W8lb. (B) Tongs. Senegal. H11in. (C) Spike-shaped anvil. Cameroon. H10in. (D) Spike-shaped anvil. Ivory Coast H8.5in. (E) Tongs. Burkina Faso. H13.5in. (F) Awl with wooden handle. Guinea. Red hot awls were used to burn holes in wood, leather and thin sheets of metal. H16in. See picture showing tools in a blacksmith’s work shop in Tongarogo village, Mali, in 2003. The blacksmith is sitting on a terra cotta stool (see Lot # 3) that is covered by his blue robe. The man in the white outfit is his apprentice. Note the anvil next to the blacksmith’s left foot (see pictures). All exhibited at the Pen and Brush Gallery New York 2003.

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WEDDING BLANKET. Tuareg people, Niger and Mali. Used for warmth and protection against mosquitoes. The Tuareg are nomadic people who roam the southern Sahara. Within the past decade this region has become a no-mans-land because of Islamic terrorism. This blanket was collected in 2005 before the region became inaccessible, a situation that makes it virtually impossible to obtain these textiles today. Made from ten, 6-inch wide hand-woven, hand sewn strips that are decorated with dots, tufts, squares, and hourglass shapes. Cotton. 60in x 140in.

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RARE ARON ARABAI FACE MASK. Temne people, Sierra Leone. This “mask of chieftaincy” is worn by a man who represents the Chief when he is not present. According to W.A. Hart, a noted student of Sierra Leone art (see attached 1986 article) “No chieftaincy mask, so far as I can discover, is in any museum collection in Europe or the United States”. The hammered copper plate was attached to a leather and fiber helmet. The serrated border at the top of this round mask suggests a relationship to the sun. Circles with diamond-shaped symbols, possibly representing amulets, have been embossed around the circumference of the face. Old Sierra Leone 20 cent coins mostly dated 1964 have been hung with sturdy cord around the entire perimeter. Sierra Leone gained its independence from Great Britain in April 1961. Copper plate. Diameter across ears 14in.

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ASAFO MILITIA FLAG AND SUPI’S WHIP. Fante people, Ghana. (A) This flag depicts a spider representing the Asafohene or leader of a Number One Asafo Company. It was probably created to honor an Asafohene thought to have great wisdom as expressed in the proverb, “The spider was on the stool before God created the earth”. Two figures pointing to the stool are Company Captains (Supi) who are identified by the three-tailed whips hanging from a wrist. Supi have many important responsibilities in an Asafo Company, including keeping order among the members, a role that is symbolized by the whip. African spiders are believed to have wisdom because they live in holes in the ground where they are in contact with ancestors. This flag is entirely hand sewn with embroidered details and a Union Jack canton. Cotton. 37in x 56.5in. Exhibited at the Free Library Gallery Philadelphia 2011, the SMA Fathers Museum of African Art Tenafly NJ 2013 and the Memphis University Museum Memphis TN 2014. Published in “Emblems of Power. Asafo Flags from Ghana” p85 Fig 86. This book is only available from the authors at ppr2001@med.cornell.edu. (B) Asafo Supi’s three-tailed whip. As depicted in the flag (A) there is a thick segment just below the wrist loop that contains “medicine” which enhances the Supi’s authority. Braided leather. 34in. Published in “Emblems of Power. Asafo Flags from Ghana” p29 Fig 5. See photograph taken in 2012 in the Fante village of Goma Asebu. The man on the right is the Asafo Supi with a whip suspended from his right wrist. The red cloth around his neck is a symbol of mourning for the late President of Ghana who died the previous day.

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HEAD CREST MASKS (2). Temne people, Sierra Leone. Worn on top of the head by members during Jolly (pronounced Jollay) Society masquerade processions. The masker was hidden beneath a voluminous costume hanging from the scaffold on which the mask was attached. (A) This mask is a female bust that has been decorated with silver paint and large red and blue dots. Wood, paint. H18in. (B) Janus female bust with faces front and back painted crimson wearing a gold-tone bead necklace. She is crowned by a smaller female head and abundant hair consisting of wool yarn. H21in. Both published in “Masks from West and Central Africa” (A) p64-65 Fig78 (B) p69 Fig85.

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PRE-COIN HERALDIC HOE-FORM CURRENCY. Afo people, Nigeria. For centuries before the introduction of coins by European colonial administrations, Africans used a variety of natural objects like cowry shells, seeds, ivory, animal skins and metal (copper, gold, iron) as currency for trade. Because most African societies were at least partly dependent on farming, hoes were highly prized, especially those with iron blades forged by blacksmith from locally smelted iron. Although functional iron hoe blades could be used for barter, some societies created nonutilitarian “knock offs” of hoes and other functional metal implements to be used only for trade. In this case, the “knockoff” is a massive, scooped version of a hoe blade that was used for important transactions such as bride price or kept as a store of wealth much as people now keep their wealth in a bank. Probably dates from the 19th century or earlier. On custom wall mount. Native smelted and hand forged iron with oxidized surface. H25in W18.5in.

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BARK CLOTH PRESTIGE DANCE SKIRT. Kuba people, Democratic Republic of Congo (Zaire). By contrast with the more common dance skirt made from woven raffia cloth, those made from bark are rare. This is the oldest form of Kuba textile made from the beaten inner bark of certain trees, referred to as “the cloth of ancestors”. The most highly prized and prestigious bark cloth dance skirts, such as this example, are quilted from hand sewn triangular pieces of natural (pale) and brown (dyed) bark cloth. The borders of this cloth are formed by hand woven, hand stitched raffia cloth that is decorated with balls of raffia fibers. Bark cloth, raffia cloth, raffia fibers. 19.5in x 70in.

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BUNDU (SOWEI) HELMET MASK. Mende people, Sierra Leone. The bifurcated top knot arises from an elaborately plaited coiffure. Round 1.75inch mirrors surrounded by delicate scroll work are situated in the front and back of the coiffure, representing mirrors that were sometimes worn by Bundu initiates in their hair. The mirror can see and repel forces of evil witchcraft, and thereby protect the wearer. A finely finished mask on custom base. Wood, pigment. H17in. Exhibited at the Free Library Gallery Philadelphia 2012. Published in “Masks from West and Central Africa” 2013 p48 Fig50.

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ELU FACE MASKS (2). Ogoni people, Nigeria. Elu masks, characterized by hinged, articulated jaws, are worn by men during masquerades related to religious and social functions. They refer to humorous, tragic, and joyous events recorded in oral traditions or songs, as well as offering commentary on recent events. A face painted white with kaolin pigment refers to an ancestral spirit. (A) The hairstyle of this female mask has a central conical top knot and two lateral hanging braids. Teeth are present. Wood, pigment. H10.5in. (B) This mask has a man’s pompadour hair style. Teeth are present. Wood, pigment. H8in. Both published in “Masks from West and Central Africa” 2013. (A) p109 Fig145 (B) p112 Fig150.

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TWISTED TRIPLE COIL KNOTTED CURRENCY BRACELET. Igbo people, Nigeria. Bracelets made from twisted metal rods were masterpieces created by Nigerian blacksmiths in the late 19th century. Heavy rings such as this piece were reserved for important trades and kept as a store of wealth. The end of the twisted rod is defined by a hairpin turn where the rod doubles back on itself. The knot is a symbol of permanence. The skill required to create this bracelet free hand from a hot copper rod may no longer exist. On custom base. Oxidized copper. H2in. Diameter 4in. Exhibited at the Pen and Brush Gallery New York 2003.

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MAMI WATA REVERSE GLASS PAINTING. Ivory Coast. The skill and tradition to paint images in reverse on glass is uniquely limited to Senegal and Ivory Coast in Africa. The traditional subjects were views of Mecca, inscriptions from the Koran, and images of holy men. This picture depicts Mami Wata, a deity not traditionally linked to Islam, who is a charismatic, beautiful woman concerned with wealth (which she can give or take away) and mental illness (which she can cause or cure). Her image is based on a 19th century photograph, widely distributed in Africa, of a Samoan snake charmer. Pictures and sculptures of Mami Wata typically are part of shrines to her that can be found throughout Africa. In this rendition, Mami Wata’s belt is weighed down by bags containing riches such as gold and jewels. The lozenge-shaped objects on the grey snake she is holding represent cowry shells which are a symbol of wealth. In the lower left diamond-shaped panel there is an image of Mami Wata charming snakes with a double flute. The text reads “Cote D’Ivoire- Ya mossokoro” and “Mummy-Water”. The picture is signed by the artist, “ISALI Rufisone”. Glass, paint. 15in x 21.5in.

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RARE OLD PRESTIGE DANCE SKIRT WITH GINGHAM PATCHES. Kuba people, Democratic Republic of Congo (Zaire). This unusual textile consists of hand woven, hand sewn strips of raffia cloth varying in width that are decorated with elaborate, embroidered traditional designs and small patches of green, red, and blue cotton gingham cloth. This textile is estimated to date from before the mid-20th century when Western cotton gingham cloth was rarely available to the Kuba people and highly prized by them. It also dates from a time before strip weaving of raffia cloth was replaced by panel weaving that is typically found today in Kuba dance skirts. Raffia cloth, gingham cotton cloth. 39in x 171in.

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PASSPORT MASKS (2). Liberia, Ivory Coast. Passport masks are miniature copies of traditional tribal face masks. They were a form of identification when individuals traveled away from their home territory. The narrow, slit eyes of both masks indicate a female mask form. Each is on a custom base. (A) Bassa people with eyes high in the face, a band carved across the forehead, and hair carved at the top. Wood. H4.5in. (B) Dan people. Wood. H3.5in. Acquired from a New York collector who wishes not to be identified. Note the collection numbers on the backs.

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ASAFO MILITIA FLAG. Fante people, Ghana. The message given by this flag is to avoid being lured into dangerous behavior for short-term gain. This is expressed by the proverb, “If you set a trap with evil intent, you might find yourself ensnared by your malicious behavior” (caught in your own trap). The flag dates from the 1960’s. The bow-shaped object placed diagonally in the center is a jack trap used to capture big game. The narrator (green figure) pointing to the trap represents the Asafo Company that owns the flag. He is warning the other figure representing a rival Company not to be tempted to attack. The fabric has a silky texture (?silk, ?rayon). The flag is entirely hand sewn with a Union Jack canton and embroidered details. Ex Duncan Clarke Gallery London. 33in x 59in. Exhibited at the Free Library Gallery Philadelphia 2011, SMA Fathers Museum of African Art Tenafly NJ 2013 and University of Memphis TN 2014. Published in “Emblems of Power. Asafo Flags from Ghana” p 91 Fig 98. This 103-page book is only available from the authors at ppr2001@med.cornell.edu.

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RASP GONG. Lobi people, Burkina Faso. Rasp gongs, made from wood or metal, are musical instruments used throughout Africa, especially the Western and Central regions. They are hollow, tubular forms that differ from simple gongs in that part of the external surface has a rough, striated or notched texture which produces a rasping sound when rubbed with a wood or metal stick. They may also be played by beating the outside with the same rod. This old example was made from hand forged iron that is now heavily oxidized. Note the dentate surfaces along the open edges of the tube. A wooden handle was attached to the metal flange in the center. On custom base. Hand forged iron. L11in.

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FIGURATIVE GOLD WEIGHTS (2). Ashante people, Ghana. Gold, largely in the form of small particles, was used for centuries as currency in the region called the Gold Coast (now Ghana) and surrounding areas of West Africa. Scales and weights to weigh the gold were probably introduced to the Gold Coast by Islamic traders who crossed the Sahara Desert from the north prior to the 15th century. Reflecting Islamic aversion to representational and figural sculpture, the earliest weights had geometric forms. Weights depicting persons, animals, and everyday objects began to appear in the 17th century. Since gold weights are made individually by the lost wax method, each is unique. These examples date from the late 18th to early 19th centuries. Brass. (A) Man playing a talking drum. H2in. (B) Farmer holding a bowl and with a hoe on his shoulder. H2in.

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CEREMONIAL (ADANUDO) ROBE. Ewe people, Ghana. This cloth consists of colorful, narrow weft bands with no warp stripes, referred to as a “bar form” design. It is attributed to the Adangbe Ewe people. Ex Eric Robertson Collection. Eight handwoven, hand sewn 3.5in strips. Cotton 62in x 126in.