Tudo começou com meu trisavô, José da Costa Alemão “Coimbra” Português nascido no Brasil, Ex-estudante de Medicina em Coimbra (dai nome que acrescentou ao de família) saiu do Brasil com a família e um numeroso grupo de amigos, fugindo a uma guerra que o Governo brasileiro entendeu trava com o Paraguai bem como a uma tentativa de nacionalizar o comércio que estaria na mão de portugueses. Estes, residentes na ex-colónia, recusaram-se a ser mobilizados e por isso foram desapossados dos seus bens e alvo de variadas ameaças e de perseguições.
Com o auxílio do governo português, liderado pelo Marquês de Sá da bandeira, embarcaram em meia dúzia de barcos enviados de Portugal com destino ao sul de angola.
Foram estas poucas centenas de pessoas que, a partir de meados do sec. XIX, colonizou toda uma extensa fatia de território desde (Moçâmedes (Namibe) até Sá da Bandeira (Lubango)
O tresavô José foi militar (capitão de 2`linha), político, fazendeiro, explorador e em tudo teve êxito. Deve-se-lhe a primeira e excelente descrição do curso do rio Bero e seus afluentes da nascente até a` foz e há em vários livros notícia dos seus feitos (Vou lá visitar pastores “ p 183 ss” A camara, a escrita a coisa dita “ , pp 211 ambos de R Duarte de Carvalho bem como, “Sul de Angola. Relatório de dois anos de governo 1908/1910” e João de Almeida e finalmente nos cinco copiosos volumes de roberta correia (Seu bisneto e meu primo) “Angola, dados e factos”).
I left Africa, but Africa didn't leave me
It all started with my great-great-grandfather, José da Costa Alemão “Coimbra” Portuguese born in Brazil, former medical student in Coimbra (hence the name he added to his family name) left Brazil with his family and a large group of friends, fleeing a war that the Brazilian Government understood it was fighting with Paraguay as well as an attempt to nationalize trade that would be in the hands of the Portuguese. These, residents of the former colony, refused to be mobilized and were therefore dispossessed of their property and the target of various threats and persecution.
With the help of the Portuguese government, led by the Marquês de Sá, they boarded half a dozen boats sent from Portugal bound for southern Angola.
It was these few hundred people who, from the mid20th century onwards. XIX, colonized an entire extensive slice of territory from (Moçâmedes (Namibe) to Sá da Bandeira (Lubango)
Great-great-grandfather José was a soldier (2nd line captain), politician, farmer, explorer and was successful in everything. He is responsible for the first and excellent description of the course of the river Bero and its tributaries from its source to its mouth and there are reports of his achievements in several books (I go there to visit shepherds “ p 183 ss” The chamber, the writing the thing said “, pp 211 both by R Duarte de Carvalho as well as, “South of Angola. Report of two years of government 1908/1910” and João de Almeida and finally in the five copious volumes by roberta correia (His great-grandson and my cousin) “ Angola, data and facts”).
Meu avô Manuel Curado, alentejano de Nisa, Oficial do Exército Colonial casou com uma neta de José costa Alemão. Fez toda a sua carreira militar em Africa (Angola e S Tome) e dois dos seus filhos, os meus tios José e Manuel viveram em Angola e Cabo Verde e só regressaram a Portugal no final do período colonial.
My grandfather Manuel Curado, from Alentejo from Nisa, Colonial Army Officer, married a granddaughter of José Costa Alemão. He spent his entire military career in Africa (Angola and São Tome) and two of his sons, my uncles José and Manuel, lived in Angola and Cape Verde and only returned to Portugal at the end of the colonial period.
Entretanto, meu pai, medico casado com uma bisneta de José, foi convidado para fazer uma comissão com medico militar em Lourenço Marques (Maputo). Para aí partimos em 1954, tento eu feito em Moçambique todo o segundo ciclo do liceu. Continuei os meus estudos em Portugal, mas ainda fui de férias (longas férias de vários meses a Moçambique entre 1962 e 1965) Como nessa época os meus pais vivessem em Nampula, no Norte, tive algum pequeno contacto com a guerra que, entretanto, se iniciava.
Entre os anos 71 e 74 do século passado, adversário da guerra, “passei” clandestinamente pela fronteira vários desertores e mesmo dois militantes independentistas. Foi a minha maneira de ser solidário com os africanos sem derramar sangue fosse de quem fosse. Nos finais de sessenta escrevi alguns pequenos ensaios sobre o fenómeno africano. Tiveram algum êxito, mas perdeu-se um projeto de edição francesa e boa parte dos originais desapareceram num pequeno incêndio nos anos oitenta. R
Data dos meus anos de vida em Moçambique o princípio do meu interesse por Africa, pelas sociedades africanas, pela literatura e cultura africanas. Quando regressei a Portugal para continuar os meus estudos secundários já trazia na bagagem uma estatueta maconde que, entretanto, ofereci a um tio.
However, my father, a doctor married to one of José's greatgranddaughters, was invited to do a commission as a military doctor in Lourenço Marques (Maputo). We left there in 1954, I tried to complete the entire second cycle of high school in Mozambique. I continued my studies in Portugal, but I still went on vacation (long vacations lasting several months to Mozambique between 1962 and 1965). As at that time my parents lived in Nampula, in the North, I had some small contact with the war which, in the meantime, started.
Between the years 71 and 74 of the last century, an opponent of the war, I clandestinely “passed” several deserters and even two independence activists across the border. It was my way of showing solidarity with Africans without spilling anyone's blood.
At the end of the sixties I wrote some short essays on the African phenomenon. They had some success, but a French edition project was lost and most of the originals disappeared in a small fire in the eighties. R
My interest in Africa, African societies, African literature and culture dates back to my years living in Mozambique. When I returned to Portugal to continue my secondary studies, I already had a Maconde statuette in my luggage, which I then gave to an uncle.
Todavia, foi na universidade que comício contactar mais seriamente com a cultura africana. E uma paixão antiga que se traduz numa extensa biblioteca que conta quatro mil volumes sobre todos os aspetos da vida, cultura e histórica africanas.
No que toca a peças mde arte (escultura)a coleção começou a ser reunida em 1976 com uma escultura em pedra comprada em Bruxelas…
Nunca regressei a Africa (Moçambique) por razoes que nem eu sei explicar. Provavelmente porque no se deve regressar ao sítio onde alguma Vez fomos felizes. No entanto as relações da minha família com Africa continuaram.
Uma sobrinha geóloga trabalhou na Guine Conakry, depois no Botsuana e final emento no Gabão.
O seu filho tem um pai desse país.Talvez ele, algum dia, queira continuar esta coleção. Ao fim e ao cabo a relação desta família com Africa já esta com quase dois séculos e prova bem o título desde apontamento
However, it was at the university that I began to get more serious contact with African culture.
And an old passion that translates into an extensive library that contains four thousand volumes on all aspects of African life, culture and history.
When it comes to pieces of art (sculpture), the collection began to come together in 1976 with a stone sculpture purchased in Brussels...
I never returned to Africa (Mozambique) for reasons that even I can't explain. Probably because you shouldn't return to the place where you were once happy.However, my family's relations with Africa continued.
A geologist niece worked in Guinea Conakry, then in Botswana and finally in Gabon.
Her son has a father from that country.Maybe he will someday want to continue this collection. In the end, this family's relationship with Africa is almost two centuries old and proves the title well from this note
Fang Reliquary Figure –Gabon
This guardian Byeri figure with its voluminous head and stocky appearance, is characteristic of the Southern Fang style, in particular, the Meke-Betsi of the North and the North -West Gabon. This beautiful piece, with its elegant lines and its intense stare, offers a round trip through the art world of the twentieth century, Made of 100% wood
Model is - 53 x 15 cm and weight 2 kg.
Fang StatueGabon
This figure is characteristic of the Southern Fang style, in particular, the Meke-Betsi of the North and the North – West Gabon. It is called “Eyema Byeri ” or Guardian Byer”. It has a voluminous head and a stocky appearance, in a sitting position, and holds with both hands the ceremonial flute So initiates, boys rite of passage among the Beti-Fang. Made of 100% wood Model is W 55 – H 13 and weight 1 kg.
Senoufo Mask-Mali-ivory coast- Burkina Faso
The Sénoufos live in Burkina Faso, southern Mali (mainly in the Sikasso region) and Côte d'Ivoire (to the north, around the towns of Boundiali and Korhogo). Their population is estimated at around 1.5 million, or 10% of the population of Côte d'Ivoire. The Sénoufos are essentially farmers, growing rice, millet, corn, yams, manioc and tea. Senoufo villages are governed by a council of elders. From the age of 7, Sénoufos are initiated and educated. Senufo theology is based on Koulotiolo, the powerful god, and Katielo, the mother goddess. Initiatory societies, of which the poro is the most important, play a decisive role in the life of the Senufo.
Among the Senufo people of northern Côte d'Ivoire, mask-making is not surrounded by mystery or sacredness. Making a mask, a stool or a mortar requires the same kind of attention from the sculptor. The mask is simply a wooden object. It will only become sacred the day it is danced in a liturgical context. For this, you need the mask object, a costume, ornaments, the attitudes appropriate to the dance, and the halo of mystery, power and occult knowledge that accompanies the mask. The mask will guide the Sénoufo man through all the initiation phases of the Poro or at funerals. Some masks are also used for public festive entertainment.
Height approx.
Model is 44 x 15 cm and weight 0,750 Kg
MOSSI KAREN-WEMBA
MASK-BURKINA FASO
A plank mask with a female ancestral figure. The Mossi people have a rich repertoire of masks. The present mask of the Karanwemba type displays an oval, concave mask face with a vertical, jagged central ridge and small, rectangular eyes. Atop this plank
Mask Dogon- Mali
Authentic carved Kanaga mask, one of the most popular types of masks in the Sanga region. Depicting an abstract animal and two ancestral Nommo figures in a superstructure, masks such as this one, are worn primarily at Dama, a collective funerary rite for Dogon men. The ritualâs goal is to ensure the safe passage of the spirits of the deceased to the world of the ancestors. Made of 100% wood.
Model is.W 26 H 122 and weight 3kg
BAULE GOLI KPLE KPLE
MASK- IVORY COAST
This stunning light wooden mask comes from the Baoule tribe, settled in Ivory Coast. The Baoulé are known to perform a number of various dances for their village, well, one of those said performances is known as Goli.
Goli is a day long festival usually performed during the funeral of high ranking and respected community members as a way to celebrate their earthly life. The Goli dance provides not only entertainment but also protection for the village in which it is performed.
Baoulé Goli performances consist of four blue and white, male and female dance mask pairs appearing in a pre-arranged order. This masks in particular, the Kple Kple, are the first ones to appear, representing youth and weakness.
Model is 107x69x7cm and weight 7 kg
BONECO ASHANTI –GHANA/TOGO/IVORY COAST
These are Akuaba dolls – or fertility dolls – which are part of the tradition of the Ashanti, a subgroup of the Akan ethnic group, originating from what is currently Ghana, Togo and Ivory Coast, in the western region of the African continent.
The Ashanti have a matrilineal culture and it is very desirable for them to have daughters. Thus, this sculpted wooden figure mainly presents feminine characteristics, and its shape symbolizes the attributes that future mothers want to see in their daughters: The big head symbolizes intelligence, the round shape of the face symbolizes beauty, the neck with marks like rings refers to being overweight, abundance and prosperity and the generally outstretched arms bring the idea of generosity.
According to ancient customs, this doll had to be worn next to the body of the woman who wanted to become pregnant to attract fertility, or the pregnant woman to ensure a peaceful pregnancy and a beautiful daughter. Then when the girl was born, she received the doll as a gift as a toy.
SONGYE MASK – CONGO
Made of 100% wood, pigment.
Model is W 19 – H 46 and weight 0.7 kg.
This striated masks, or Kifwebe, originates from the Songye, southern part of the Democratic Republic of the Congo. These types of masks were used to mark important periods of social transition and transformation, appearing at the death of a chief or any other eminent person, or when a person assumes an important political title. The high forehead and the form of the mask imitate the heads of the pygmies, the original custodians of the land.
BEMBE ALUNGA HELMET MASKCONGO RDC
Made of 100% wood.
Model is W 25 – H 54 and weight 1 kg
Bembe Alunga Helmet Mask depict a barrel-shaped said to embody forest spirits, and was generally hidden away and revealed only to select initiates. Its use in the village could range from entertainment to the imposition of fines and the settling of disputes especially if a member of the Alunga association was concerned. It is Janus-faced, with enormous eyes with cylindrical pupils framed in star shapes. Similar masks exist among their neighbours, the Goma, and are used in the Alunga association. In both cultures, such masks represent the spirit of dead and play the role of intermediaries between the living world and the invisible world. They are displayed in front of the initiates of the Kalunga or Butende to get their positive powers on them.
FANG MASK – GABON
Made of 100% Native fiber, wood and paint. Model is W 20 – H 54 and weight 2kg.
This pigmented mask made of wood and kaolin represents the spirit of an ancestor and was used for social control by Ngil, the judiciary association. The facial markings, abstract features and strong. Elegant lines are typical of Fang masks, which were among the most influential.
SONGYE MASK – CONGO
Made of 100% Native fiber, wood and paint. Model is W 20 – H 54 and weight 2kg.
The kifwebe masquerade is a genre shared by the Luba and Songye, indicative of the interaction that has occurred between the two societies. Kifwebe masks represent either male or female beings.
Both mask types are characterized by angular and thrusting forms, and in both cases the entire face is covered in patterns of geometric grooves that are uniquely characteristic of these masks.
Female masks, such as this one, are distinguished by the predominant use of white clay and the rounded form of the head crest.
DOGON MASK-MALI
This mask, depicting an abstracted human face is a classic helmet mask from the Dogon peoples of Mali. At just over 22inches in height, this imposing piece makes a powerful, compelling display, & would be an excellent addition to any serious collection. Made of 100% wood. Model is W 21– H 78 and weight 3 kg.
BEMBE MASK (CHEEEKS)CONGO RDC
W 24 H 56 and weight 1,2kg
A flat volume on which large concave orbits have been carved with incised almond-shaped eyelids, constitutes this African tribal mask of the Bembe. The frightened owl would have inspired these zoomorphic characters. These masks accompanied the rituals of passage during the Bwami's circumcision ceremonies. This very ancient mask is distinguished by its exceptional inlaid patina, formed of locally abraded granular underlayers. Height on base: 53 cm.
The Bembe ethnic group is a branch of the Luba that left the Congo in the 18th century to settle near Tanzania and Burundi. Their society and artistic tendencies are marked by the influence of their neighboring ethnic groups in the region of Lake Tanganyika, the Lega, the Buyu, etc.. Indeed, like the Lega, the Bembe had a Bwami association responsible for initiation and structuring the society but while the Bwami was exclusive to the Lega, other associations coexisted among the Bembe, such as the Elanda and Alunga societies. Within the Bwami, art objects such as masks and statues had the role of helping aspirants to Kindi, the highest rank, to remember the moral rules they had to know and apply.
MALE FETISH NKISI – CONGO RDC
Made of 100% Wood, Paint, Nails, Cloth, Iron Model is W 26 – H 61 and weight 3.5kg.
This rare Power Figure originates from the Kongo peoples – Democratic Republic of the Congo, and is called Nkisi N’Kondi meaning medicine. The figure was used as sacred medicinal vessel to ward off danger and scare away spirits, protect from witchcraft. Nail and mirror fetishes are a unique and important phenomenon of Kongo sculpture.
At most basic, the nkisi represent a container of empowering materials or medicines called “bilongo”. They were properly endowed with magic substances and additions by the nganga or witch doctor, and had the power to act in a number of ways. The magical substances may be blood along with animal, vegetable, and mineral matters, and are generally secured in cavities in the stomach, head, or back to activate the work with the empowering agent. The Kongo believed to petition the fetish figure with power and make it possible for the devotee to establish contact with the spirit.
There are four main types of nkisi, used for different purposes. Nkondi are fetishes of ill omen, usually brandishing a spear or a knife, while npezo are just as evil, but less menacing in attitude. Na moganga are benevolent figures, which protect against sickness and dangerous spirits. They help the hunter and the warrior; while mbula protect against witchcraft. All nkisi can be used for a variety of purposes and their meaning is ambivalent. The fetishes also may represent animals: two-headed dog, sometimes monkey.
Historically, The nkisi were public and private, and vital democratizing roles, as sources of empowerment for rural residents and individuals outside the court. The Kongo people are a Bantu ethnic group primarily defined as the speakers of Kikongo. They have lived along the Atlantic coast of Central Africa, in a region that by the 15th century was a centralized and well organized Kongo kingdom, but is now a part of three countries. The Kongo people have traditionally recognized their descent from their mother, and this lineage links them into kinship groups. They are culturally org
YOMBE FIGURE –CONGO RDC
W 14 H 39 - 3kg
The artistry of Yombe figurines and statues is well known, usually objects of prestige, kings seated on the throne, or female phemba (maternity) statues. Nkisi nkonde figurines, masks and drums are also made for ceremonies.Their funerary figures are renowned for their realistic depictions. The supreme deity of the Yombe is Ngoma Bunzi, who hails from an unreachable realm called Yulu. He is contacted via Nzambi a Tsi (earth spirits) and Simbi (river spirits). The Yombe people build shrines as memorials to prominent ancestors, such as village chiefs who has special powers.The Yombe people of northern Zambia believe that people have three different identities: biological, social, and spiritual. Their social standing affects the type of funeral which might be given.
STATUE BAULE -Ivory Coast
Model is 69 x 13 cm and weight is 1,5 Kg
Baule male statue evoking a "Blolo bian", sculpted to embody the husband of the "beyond", according to the instructions of the diviners. Neat statue, sculpted with many details, coated with a black patina. Around sixty ethnic groups populate Ivory Coast, including the Baoulé, in the center, Akans from Ghana, a people of the savannah, practicing hunting and agriculture just like the Gouro from whom they borrowed their ritual cults and masks. carved. Two types of statues are produced by the Baoulé, Baulé, in the ritual context: The Waka-Sona statues, "being of wood" in baoulé, evoke an assié oussou, being of the earth. They are part of a type of statue intended to be used as a medium tool by the komien diviners, the latter being selected by the asye usu spirits in order to ...
RELQUARY FANGGABON
Made of 100% wood Model is W 13 H 59 and weight 3kg
This figure is characteristic of the Southern Fang style, in particular, the Meke-Betsi of the North and the North –West Gabon. It is called “Eyema Byeri ” or Guardian Byer”. It has a voluminous head and a stocky appearance, in a sitting position, and holds with both hands the ceremonial flute So initiates, boys rite of
BANGWA STATUE-CAMEROUN
Made of 100% Wood. Model is W 14 H 51 and weight 1,5 kg.
The Queen Memorial Sculpture is well known from Bangwa peoples. She is recognizable by her tall curved headcrest, open toothy mouth, and decorated neck collar. She holds two tools or instruments, one in either hand. The pose is typical of Bangwa sculpture, with knees bent and standing. The surface of the carving has had several layers of pigment and a flaky encrusted feel. One of these statues has the prestigious title njuindem (“woman of god”) a priestess of the earth, or now known as the “Bangwa Queen.” Believed to be a sub-type of Lefem ancestor figures, njuindem (meaning ‘woman of god’; also called ngwindem or anyi) maternity figures are carved to represent mothers of twins and royal wives of the fwa. Bangwa Queen are held in high esteem are Bangwa women. They are responsible for the continued growth, expansion and ultimate power of the kingdom through childbirth. Bangwa is a kingdom located within the Cameroon Grassfields. During the 19th century, Bangwa fon (chiefs) commissioned lefem statues to be carved as manifestation of themselves.
ELEPHANT GOURO MASK-RCI
Model is W 22 H 69 and weight 1 kg
The African zoomorphic masks of the Dié group in Gouro African art. The elephant is honored with this polychrome mask topped by a bird. The ears treated in rectangles form an uncommon characteristic of this sculpture from the Ivory
ELEPHANT GOURO MASK-RCI
Made of wood, pigments. Model is W 17 H 49 and weight 1 kg
This beautiful carving depicting an elephant originates from the Baule tribe. Baule art is sophisticated and stylistically diverse. Masks such as this one were used in entertainment dances and are one of the oldest of Baule art forms
Baule Kpan Mask – RCI
Beautifully carved Baule ancestral portrait originating from Ivory Coast. These refined human face masks are usually portraits of particular known individuals or dignitary celebrated during a ceremonial dance called Mbloâ. Masks such as this one were used in entertainment dances and are one of the oldest of Baule art forms. Baule art is sophisticated and stylistically diverse.
BAULE KPAN MASK – RCI
Made of 100% wood, pigment Model is W 19 – H 38 and weight 0.8 kg.
This beautifully carved mask originates from the Baule tribe. Baule art is sophisticated and stylistically diverse. The Mblo or Kpan masks such as this one were used in entertainment dances and are one of the oldest of Baule art forms. These refined human face masks are usually portraits of particular known individuals. Mblo is the name of a performance category that uses face masks in skits and solo dances. Mblo masks embody the core Baule sculpture style manifested in figures and decorated objects – spoons, combs, pulleys and the like. Lustrous curving surfaces, suggesting smooth, clean, healthy, well-fed skin, with scarifications, are set off by delicately textured zones representing coiffures, scarifications, and other ornaments.
The idealized faces are introspective, with the high foreheads and the large downcast eyes. Ornaments above the face –such has birds, horns, statue, and other decorative motifs – are chosen for their beauty, and have no iconographic significance. Fine scarifications and coiffures denote personal beauty, refinement and a desire to give pleasure to others. Baule art is sophisticated and stylistically diverse. Non-inherited, the sculptor’s profession is the result of a personal choice. The Baule are also noted for their fine wooden sculpture, particularly for their ritual figures representing spirits; these are associated with the ancestor cult. The Baule have types of sculpture that none of the other Akan peoples possess. Wooden sculptures and masks allow a closer contact with the supernatural world. The Baule believe in an intangible and inaccessible creator god, Nyamien. Asie, the god of the earth, controls humans and animals. The spirits, or amuen, are endowed with supernatural powers. Religion is founded upon the idea of the immortality of the soul.
The Baule people have played a central role in twentieth-century history of the country. They belong to the Akan peoples who inhabit Ghana and Côte d’Ivoire. According to a legend, during the eighteenth century, the queen, Abla Poku, had to lead her people west to the shores of the Comoe, the land of Senufo. In order to cross the river, she sacrificed her own son. This sacrifice was the origin of the name Baule, for baouli means “the child has died.” Now about one million Baule occupy a part of the eastern Côte d’Ivoire between the Komoé and Bandama rivers that are both forest and savanna land. The Baule Society was characterized by extreme individualism, great tolerance, a deep aversion toward rigid political structures, and a lack of age classes, initiation, circumcision, priests, secret societies, or associations with hierarchical levels.
ADUMA MASK – GABON
made of 100% wood. model is w 23 – h 30 and weight 0.7 kg
This Mask with black and white alternating patina, prominent forehead and rectilinear nose originates from Gabon, within the Ngoye tribe. The Ngoye society is a secret society composed of clan chiefs attributing power to the bones of the deceased leaders. These relics were preserved inside the hollow torso of wooden statues. Aduma masks are characterized by their flat surface, their domed foreheads, an angular nose, and small openings for eyes. The mouth is often minimal or omitted. They are often painted in four sections, alternating light and dark.. Masks like these were used for initiation and other ceremonies.
DOGON KAMBARI MASK-MALI
Made of 100% wood, pigment Model is W 18 – H 47 and weight 0.6 kg.
This African Mask of the Dogon is equipped with high rectangular depressions, pierced by geometric cavities for vision. At the top, a Kambari-style plank located south of bandiagara cliff, is carved with a high-relief motif. This symbolic motif would evoke a moment of the inauguration of the priest of Binu. Mate surface, flaky and rough. Cracks and haloes. Marcel Griaule counted no less than 78 types of dogon masks during his field investigations. This piece, with its stylized features, is characteristic of dogon creations. The latter, influenced by their predecessors in the Bandiagara region, the Tellem, have retained this verticality in their rooms. Parallel to Islam, the Dogon religious rites are organized around four main cults: the Lebe, relating to fertility, the Wagem, cult of ancestors under the authority of the patriarch, the Binou invoking the spirit world, and the society of Awa masks concerning funerals. The 'On' dama is a ceremony dedicated to restoring the order of things following a mourning. It's originally to protect yourself from the nyama (soul) of the victim that the Dogon use certins types of masks. The Dogons gradually abandoned the use of masks due to the advance of Islam and the abandonment of animism.
GOURO MASK-
RCI
Made of 100% wood, pigment. Model is W 30 H 56 and weight 1 kg
This Guro mask and many of the other masks are representations of the spirit of Gu, the wife of Zamble, a supernatural being. Guro masks originate from the west coast of Africa and more specifically from Ivory Coast. Guro mask is very unique and has a combination of human and animal traits and imaginary beasts. The Guro tribe or Gouro tribe as they are sometimes pronounced are very spiritual people and their masks are all representations of their way of live and spiritual way
Grebo Tribal Mask- Ivory Cast
Made of 100% carved wood. Model is W 20 H 47 and weight 2.5 kg.
This handcradted Grebo Mask with dense wood belongs to the Grebo group of Kru, a small population of the western coast of the Ivory Coast, and their neighbours from eastern Liberia). The distinctive style with protruding tubular eyes in varying numbers is rare with an exaggerated abstract facial features and large headdresses. Grebo ethnic group in Ivory Coast uses this mask to the needs of fetish (sacrifices).
Chokwe Mask
This looted ancestral chokwe mask, with an elaborate hairline made up of a braided fibre fabric, beautiful and unusual scarification patterns on the front of the mask and cheeks originates from Angola. Pwo signifies womanhood and an elder ancestral female associated with fertility. The cross form on the forehead, known as cingelyengelye, is an early Portuguese influence. Made of 100% wood, fiber, Patina. Model is W 25 43 and weight 2 kg
MASK BOZO-MALI
Made of 100% wood. Model is W 19 – H 52 and weight 3 kg
This abstract zoomorphic mask, with a traditional geometric shaped face, eyes, and ears, a prominent groin, represent, the hyena, one of the animals that inhabit the regions of the Bozo people of Mali. They create mythical beings for masquerades and performances before hunting and fishing events.The Sogo bò puppet theater is still widespread in the tribal area Bamana and has entertaining character, often with moral approaches, representing a comprehensive dance and vocal performance. Bozo people live along Niger river and are related to Bamana. They are known as people of the fish as they make their living by fishing.
BOZO HYENA MASK – MALI
Made of 100% wood.
Model is W 23 – H 41 and weight 0.8 kg.
This abstract zoomorphic mask, with a traditional geometric shaped face, eyes, and ears, a prominent groin, represent, the hyena, one of the animals that inhabit the regions of the Bozo people of Mali. They create mythical beings for masquerades and performances before hunting and fishing events.The Sogo bò puppet theater is still widespread in the tribal area of Bamana and has entertaining character, often with moral approaches, representing a comprehensive dance and vocal performance. Bozo people live along Niger river and are related to Bamana. They are known as people of the fish as they make their living by fishing.
Yoruba Mask-Nigeria
Made of 100% wood
Model is W 1 – H 32 and weight 1 kg
Hand carved from a single piece of wood.
The 20,000 Yohure inhabit the central region of the Côte d’Ivoire, the territory between the White and Red Bandama Rivers, to the east of the city of Bouafle. The Yohure are geographically and linguistically situated between the Baule, an Akan language group to the east, and the Guro and Gban (Gagu), southern Mandespeaking peoples to the west. Depending upon their proximity to their neighbors, the inhabitants of Yohure villages are either entirely Baule or Mande speaking. Villages are generally associated with one clan. They are governed by a leader assisted by a council of elders who represent each family holding. Each family lineage traces his roots to a particular ancestor. Not only their language, but also the culture, religion and art are influenced by their powerful neighbors, the Baule and Guro. The Yohure possess a strong sense of identity and have evolved a refined art. The Yohure decorate different everyday objects with figurative representations, but first of all their beautiful masks reveal their artistic abilities.
BEMBE EMBA STATUE-RDC
Made of 100% wood, pigment.
Model is W12 H 26 and weight 0.5 kg.
The eyes of this subject symbolizing power are inlaid with horn, characteristic of Babembé statuary. Bright two-tone patina, gaps and drying cracks. Installed in the current Republic of Congo, the Béembé, Babembé, originally formed the Kongo kingdom, with the Vili, Yombé, Bwendé and Woyo. They were under the supervision of the ntotela king elected by the governors. The trade in ivory, copper and slaves constituted their main resources. The village manager, nga-bula, was responsible for interceding with the ancestors. Hunting being a major activity, the ancestors were invoked through statuettes. These idealized representations of ancestors, kitebi or bimbi consecrated by the sorcerer, displayed the attributes of hunters or even healers.
BOZO MASK – MALI
Made of 100% Wood, paint, fabrics.
Model is W 21 H 32 and weight 1.5 kg
Colorful Bozo Buffalo puppets were used for performances in the region of the Bamana city of Segou or the Bozo area of Mopti, by Sogo ba masquerade. Dance troops of young men, members of local youth groups. The sing, dance, drum, manipulate puppets or dance masks in creating performances called Sogo Ba. Through the movements of the puppets and the songs that accompany them, the youth association is able to comment on the social and political life of the community.
LUENA MATERNITYANGOLA
Made of 100% wood, pigment. Model is W13 H 34 and weight 1 kg.
Superb African statuette depicting a maternity hospital. She is holding a small container in her right hand. Note the beautiful detail of the headdress subdivided into several lobes. Honey patina. The face is serene. The child wears a headdress similar to that of his mother. In African art, representations of a mother carrying their children are common; they tackle the theme of filiation, childbirth, future generations.
Object reported by a Belgian civil servant expatriated in Zaire before independence. This statuette certainly comes originally from the far north of Angola. The Chokwe and sub-groups are settled in northern Angola, southern Democratic Republic of Congo as well as northwestern Zambia
STATUE SENOUFO (BRONZE) –IVORY COAST
Made of 100% Bronze Model is W 10 – H 47 and weight 1,8kg.
Senufo couple (Bronze)
´Mali -Ivory Coast
Amulet used as a pendant in the shape of an ancestral or primary ancestral couple, much used among the Senufo people of Mali and the Ivory Coast. Fine patina and signs of use
DOGON (BRONZE) –
MALI
Made of 100% Bronze Model is W 30 – H 7 and weight 1.5 kg. This stunning Dogon Bronze depicts an Ancestors on a Crocodile. Handcrafted in Mali using the "lost wax" method, it is a treasured piece. The Dogon Tribe honors Nature and the Crocodile which serves as their totem animal.
During droughts, the Shaman blesses the Crocodile and requests rain; the Tribe has remained harmonious with this powerful animal for centuries. Ancestor serve to protect the Tribe's families and homes.
VERE STATUETTENIGERIA
Made of 100% Bronze, copper alloy. Model is W 8 – H 20 and weight 0.4 kg.
From the Vere people of Nigeria this beautiful statuette, also known as Glass, Were and Duru-Verre, is a rarity and most compared with pieces produced by the Mumuye, their close neighbours.
Simple in form this stunning sculpture was forged with slightly bented arms held apart from the body. The details rest on its salient navel and eyes, but also on the circles that compose its hair. A little more complex in form, the lower body, consists of two thick legs resting on wide flat feet.
Horseman Sao Bronze – Chad
Made of 100% Bronze Model is W 33 – H 18 and weight 4 kg.
In African art, works inspired by Sao Sokoto are mainly influenced by the equestrian world. Within the ethnic group, small examples of horsemen, generally made of bronze, are melted and worn as talismans, patinated and lustrous by friction. They are considered above all as a remedy to fight against possession by evil spirits. The horse represents the spirit of the person who is possessed, while the genius who possesses him is symbolized by the rider.
Subjected to successive attacks from their neighbors in Kanem then to hordes from the East, the Sao had to abandon their lands to settle in the North-West of Cameroon where they interbred with the natives thus giving birth to the Kotoko. More than an ethnic group, the Sao are a civilization that has now disappeared. They were found between the 12th and 14th centuries in a geographical area extending along the borders between Chad, Cameroon and Nigeria. This bronze, inspired by the most beautiful Sao creations, has a copper patina. The warriors
IFE WARRIOR FIGURE
Made of 100% Bronze, copper alloy. Model is W 8 – H 18 and weight 0.4 kg.
Oba warrior figure originating from Benin. The male character wears ornaments around the waist and neck. He also wears a hairstyle, showing his high rank in the benign society, we find in fact the frontal excrescence of the royal headdresses. The art of Benin, an art of court, it is closely associated with the king, known as Oba and exclusively for the use of the inhabitants of the royal palace and, most often, placed on altars dedicated by each new Oba . The tradition of Ife bronze course objects dates back to the 14th century. The Benin bronzes are probably among the most famous of the tribal art of Black Africa
IFE SMALL WARRIOR
FIGURE – BENIN
Made of 100% Bronze, copper alloy. Model is W 8 – H 17 and weight 0.4 kg.
Ife Small Warrior Figure – Benin
This vintage Oba warrior figure comes from Benin. The male character wears ornaments around the waist and neck. He also wears a hairstyle, showing his high rank in the benign society, we find in fact the frontal excrescence of the royal headdresses. The art of Benin, an art of court, it is closely associated with the king, known as Oba and exclusively for the use of the inhabitants of the royal palace and, most often, placed on altars dedicated by each new Oba . The tradition of Ife bronze course objects dates back to the 14th century. The Benin bronzes are probably among the most famous of the tribal art of Black Africa.
HORSEMAN SAO BRONZE – CHAD
Made of 100% Bronze
Model is W 22 – H 10 and weight 1 kg.
This miniature bronze figure depicts a “Kotoko Equestrian, Guardians of the Soul” –the horse and rider motif is a strong symbolic meaning in the culture of the African Kotoko people. Similar to amulets worn around the world, they believe to bring good luck or blessings of the gods. “Kotoko Equestrians” are mostly worn as pendants on necklaces or bracelets, which represent a source of spiritual strength for their owners.
KWELE MASK – GABON
Made of 100% wood, kaolin.
Model is W 40 36 and weight 0,4 kg
Kwele masks with two large horns represent the antelope whose flesh was eaten at the end of the ‘beete’ ritual. The beete ritual, which lasted for a week, would open with the departure of men into the forest to hunt antelope, whose flesh, seasoned with medicines, had to be eaten at a meal at the closing ceremony. Kwele faces are usually painted in white kaolin earth, a pigment associated by the Kwele with light and clarity, the two essential factors in the fight against evil. The Kwele masks originate from the rain forests of Gabon on the western coast of Africa and are hand carved by the Bwete association. Kwele masks many with heartshaped face, are among the most beautiful forms of African art
IGBO HELMET MASK –NIGERIA
Made of 100% wood
Model is W 28 – H 60 and weight 2 kg.
This unusual and particularly imaginative helmet like mask is from the Nsukka area, the northern part of the northcentral Igbo region in Nigeria. This region has one of the most complex and diverse mask making traditions in Nigeria.
KOTA RELIQUARYGABON
Made of 100% wood, sheet metal and brass wire. Model is W 20 – H 60 and weight 3 kg.
The Kota people live mainly east of Gabon and west of Congo, it is an ancient city of warriors and hunters, currently settled between the Ogooue River and the Invendo.
The kota reliquary is the representation of the clan's ancestors, it is a protective figure that advises family members. It is thought that these relics protect the remains from evil spirits and grave robbers.
It is a figure adorned with associations with the containers where the tribe's relics are kept, such as the remains of high-ranking ancestors. Kota reliquaries were also used in divinatory and healing processes.
Because they are made of metal, copper or brass, they facilitate their conservation and were also a symbol of wealth. The metal used came from bullets from weapons stolen from the French and Belgian military.
SONGYE MASK – CONGO
Model is 39 x 21 cm and weight is 1,5 Kg
This African Songye mask of the masculine type offers a geometric structure from which spectacular features emerge. Tricolor streaks contour the volumes. Also used by the Luba, worn with a long costume and a long beard made of natural fibers, Kifwebe masks acted as secret police in favor of power, in order to control individuals through magic. They also appeared during crucial stages of initiation ceremonies, and now at celebrations. Height on base: 60 cm. Erosions and desiccation cracks.
In the 16th century, the Songyes migrated from the Shaba region to settle on the left bank of the Lualaba. Their society is organized in a patriarchal way. Their history is inseparable from that of the Luba to whom they are related through common ancestors. Very present in their society, divination made it possible to discover sorcerers and to shed light on the causes of the misfortunes which struck individuals.
CHOKWE STATUE – RDCANGOLA
Made of 100% Wood. Model is W 26 79 and weight 9kg.
In the early nineteenth century, Chokwe chiefs in the Savanna of present day Democratic Republic of The Congo and Angola, were active in trading with the merchants from Europe and The New World.
The Chokwe chairs and stools express power and prestige that their owners possess, the keepers of social order. The thrones alone, stand as symbols of order and power. When referring to a carved stool or chair that belongs to a chief, headman, or an important elder, it is referred to as Ngunja, because it is to express respect for the influential rank of the owner on top of the messages that are behind the carvings.
BOZO BIRD PUPPETMALI
Made of 100% Wood, paint, fabrics. Model is W 63 77 and weight 2 kg.
This Dogon figurative sculpture depicts a Kono, a bird that announce the rains â The singers praise the birdâs character and its importance in the lives of the people. The puppet is from the region of the Bamana city of Segou or the Bozo area of Mopti, by Sogo ba masquerade. They were used during performance of Dance troops of young men, members of local youth groups. The sing, dance, drum, manipulate puppets or dance masks in creating performances called Sogo Ba. Through the movements of the puppets and the songs that accompany them, the youth association is able to comment on the social and political life of the community.
MASK OGONI NIGERIA
Made of 100% light hand-carved cane wood, fiber, and pigments. Model is W 20 – H 32 and weight 0.4 kg.
This “Elu” mask originates from the Ogoni tribe in Nigeria. Scarification marks with geometrically incised designs appear on the forehead. The eyes are hollow almond shaped openings. The head decoration has a raised portion representing ancestors or title holders
MASK KWELEGABON
Made of 100% wood, kaolin. Model is W 20 H 27 and weight 0.4 kg Kwele masks with two large horns represent the antelope whose flesh was eaten at the end of the ‘beete’ ritual. The beete ritual, which lasted for a week, would open with the departure of men into the forest to hunt antelope, whose flesh, seasoned with medicines, had to be eaten at a meal at the closing ceremony. Kwele faces are usually painted in white kaolin earth, a pigment associated by the Kwele with light and clarity, the two essential factors in the fight against evil. The Kwele masks originate from the rain forests of Gabon on the western coast of Africa and are hand carved by the Bwete association.
DOGON MASK-MALI
Made of 100% wood.
Model is W 16 – H 29 and weight 0.5kg
This mask, depicting an abstracted human face is a classic helmet mask from the Dogon peoples of Mali. Open triangles form the eyes of the mask, while the nose takes on the traditional shape used by the Dogon in much of their carvings. At just over 26-inches in height, this imposing piece makes a
FANG MASK – GABON
Made of 100% wood, brown and white pigments. Model is W 30 H 46 and weight 0.4 kg
The Fang used masks in their secret societies. Mask such as this were worn by members of a male society of the same name during the initiation of new members
KWELE ANTELOPE MASK – GABON
Made of 100% wood, kaolin.
Model is W 30 H 44 and weight 0.8 kg.
Kwele masks with two large horns represent the antelope whose flesh was eaten at the end of the ‘beete’ ritual. The beete ritual, which lasted for a week, would open with the departure of men into the forest to hunt antelope, whose flesh, seasoned with medicines, had to be eaten at a meal at the closing ceremony. Kwele faces are usually painted in white kaolin earth, a pigment associated by the Kwele with light and clarity, the two essential factors in the fight against evil. The Kwele masks originate from the rain forests of Gabon on the western coast of Africa and are hand carved by the Bwete association. Kwele masks many with heart-shaped face, are among the most beautiful forms of African art
GURO MASK – IVORY COAST
Made of 100% wood, pigment.
Model is W 18 – H 51 and weight 1 kg.
The Guros are well known as sculptors of colorful masks, statuettes, pulleys weavers and spoons. This Guro mask and many of the other masks are representations of the spirit of Gu, the wife of Zamble, a supernatural being. Guro masks originate from the west coast of Africa and more specifically from Ivory Coast. Guro mask is very unique and has a combination of human and animal traits and imaginary beasts. The Guro tribe or Gouro tribe as they are sometimes pronounced are very spiritual people and their masks are all representations of their way of live and spiritual way of life.
BAGA MASK-GUINEA
Made of 100% wood.
Model is W 23– H 60 and weight 3.5 kg.
Reduced version of the large shoulder mask it features a classic decoration of upholstery nails highlighting the reliefs of the sculpture. This type of mask wandered on a pole, the porters hidden under raffia fibers or under fabrics. Beautiful patina of use.
Mêlés aux Nalu and Landuman , the Baga live along the coasts of Guinea-Bissau in areas of swamps flooded six months a year. They believe in a creative god called Nagu, Naku, which they do not represent, and which is accompanied by a male spirit whose name is Somtup. Apart from the famous Nimba mask, they have created a powerful mask, hybrid snake, gazelle, chameleon and crocodile, with the aim of communicating with the spirits of the forest. The face of the Baga Nimba mask is characterized by a buzzed nose evoking a bird's beak,
BAGA SNAKE – GUINEA
Made of 100% wood, pigment.
Model is W 19– H 120 and weight 4.5 kg.
The snake sculpture is from Baga and refers to a protective spirit manifested in the form of a snake that presides over male initiation ceremonies among the Baga culture in Guinea, West Africa. The primary physical manifestation of the baga snake is as this brilliantly colored, larger-thanlife aquatic serpent resembling a boa constrictor. The sinuous curves and undulating contours of the elegant sculptural representation evoke the power, elusive grace, and flexibility of this Baga spiritual entity. Typically, during the days preceding the initiation ceremonies, two carved snakes appear in the village and are decorated with streamers and colorful banners. The two sculptures are then supported by scaffolding and carried by several men hidden under palm leaves and cloth. Despite their seemingly unwieldy size, these sculptural forms are manipulated during performances with astonishing dexterity and dynamism. Baga snakes are extremely valuable and sought after by collectors.
BENIN BRONZE PORTUGUESE COLON PLATE
Made of 100% Bronze Model is W 28– H 40
The mastery of bronze in African art. This exceptional and ancient piece depicts a Portuguese settler. This character carrying in the right hand what appears to be a firecracker and in the left hand a sword. The shackles (open bronze ring) encircling the figure testify to the importance of the Portuguese to the Oba, king of the ethnic group, and the dominant class of the Kingdom Benin in the 16th century. Indeed, the tremendous increase in imports of metal in the form of shackles, used as a bargaining chip, provided bronze craftsmen with huge quantities of raw material for their works and contributed greatly to the economic boom. Benin. The Portuguese is therefore presented here as a provider of wealth. In the 16th century, they played a major role at the oba court: they imported corals and glass beads coveted by the king and his courtiers.
atingly, their soldiers participated in Benin's military campaigns, notably against the kingdom of Idah. The fire fired in the right hand of the character thus attests to the presence of cannons, an unavoidable asset and dreadfully effective.
It is therefore easy to understand the presence of these pieces in the royal palaces of Benin. This bronze art was exclusively reserved for the king's court.
DJENNE TERRACOTA SEATED FIGURE-MALI
This powerful, expressive and elegant figure, with its face tilted towards the heavens, comes from the ancient city of Djenne in Mali.
This sculpture depicting a primitive man is related to a set of stylistically similar, large terracotta figures. Sculpted around 850 years ago, this statue is intact and molded in a perfect way according to Djenne artistic tradition. Made of 100% Terracotta Model is W 10 – H 22 and weight 1kg
RELIQUARY KORO-NIGERIA
Made of 100% wood, sheet metal and brass wire.
Model is W 21 – H 77 and weight 3 kg.
The Koro people settled in Nigeria, north of the junction of the Niger and Benue Rivers. They carve abstract headdresses embellished with red seeds, which are thought to symbolize ancestor spirits and are used during agricultural rites and important social or family events. The Koro also sculpt cups for beer and palm wine that are used in sacrificial offerings and in second funerals (those that, after a certain period of burial, celebrate the arrival of the dead in the afterlife). In anthropomorphic versions, the containers correspond to the stomach of the feminine figure. The curvilinear form shrinks in the center, recalling the shape of pumpkins, commonly used as containers for liquids
TCHIWARA BAMANA –MALI
Made of 100% wood.
Model is W19 H60 and weight 2 kg.
This Bamana ChiWara carving is identified as a male and originates from the Bambara tribe in Mali. Chiwara, also spelled Chi wara or Tyiwara, antelope figure of the Bambara (Bamana) people of Mali that represents the spirit that taught humans the fundamentals of agriculture. The Bamana people honor Chiwara though art and dance.
YOMBE FIGURE -RDC
Made of 100% wood, pigment. Model is W 7– H 26 and weight 1 kg.
This classical seated Yombe figure had been considered by the Kongo people a posture of circumspection, or a sign of one who reflects before speaking. The gesture also symbolizes an ideal chief. The figure is carved in the iconic Congo ‘phemba’ genre. ‘Phembas’ represent a maternity classic theme of Yombé art that usually depicts (with variations) a mother sitting cross-legged (most times with a suckling infant on her lap), with a realistic face, gaped mouth, the body covered with keloid scarifications. These carvings, generally sophisticated and very graceful, were thought to favor such a happy event.
DOGON BRONZE TOBACCO POT (BRONZE)–NIGERIA
Made of 100% Brass / Bronze Model is W 15 – H 24 and weight 2kg.
This rare small pot with figural lids originate from Dogon, and dates . Atop the lid is two seated figures that represents an (idealistic) portrait of the deceased. The vessels were used in secondary burial rituals by the Dogon.
GOURO KLEPLE MASK- RCI
Made of 100% wood, pigment. Model is W 20 H 49 and weight 1 kg.
This Guro mask and many of the other masks are representations of the spirit of Gu, the wife of Zamble, a supernatural being. Guro masks originate from the west coast of Africa and more specifically from Ivory Coast. Guro mask is very unique and has a combination of human and animal traits and imaginary beasts. The Guro tribe or Gouro tribe as they are sometimes pronounced are very spiritual people and their masks are all representations of their way of live and spiritual way of life.
MASK OKUYI, PUNU – GABON
Model is W 29 â H 33 and weight 0.3 kg.
This beautiful mask called Okuyi or Mukudji, a superb classicism originating from the Punu tribe, south of Gabon. It was worn during acrobatic dances by men on stilts.
Made of 100% wood, kaolin, pigments.
IGBO HELMET MASK – NIGERIA
Made of 100% wood Model is W 24 – H 80 and weight 4 kg.
This unusual and particularly imaginative helmet like mask is from the Nsukka area, the northern part of the northcentral Igbo region in Nigeria. This region has one of the most complex and diverse mask making traditions in Nigeria.
BWA MASK -BURKINA FASO
Made of 100% wood, pigment.
Model is 99 x 44 cm and weight 5 kg.
Bwa masks are believed to possess special powers which are controlled by those who wear them.
These masks are plank shaped with a circular face at one end and a crescent moon at the other.
Their wearer looks through a hole in the mouth. The eyes are based on an owl and the hooked nose comes from the hornbill. Both these birds are thought to possess magical powers.
The plank section is decorated with geometric patterns which are an essential design element in many African masks and carvings. Geometric pattern creates an external rhythm which echoes the internal spiritual energy of the artwork. It can also be used as a coded language where the design communicates secret knowledge to those in the know. The designs on this Bwa Mask, which is used to celebrate boys' initiation into adulthood, represent information about the myths and morality that the boys must learn before they can be accepted into adult society.
DAN MASK-RCI
This antique mask originate from the Dan people who live in the western part of Ivory Coast and eastern Liberia. Mask such as this are generally characterized by a concave face, a pointed chin, a protruding mouth, an upturned nose and a high-domed forehead. The Dan people refer to these masks as gle or ge, terms that refers both to the physical mask and the individual spirits the mask is believed to embody during masquerade performances. The masks were used for traditional functions ranging from entertainment to initiation to social control. Masks are the most important art form of the Dan people of Liberia. Made of 100% wood.
Model is W 30 H 35 and weight 0,6 kg.
BETE MASK – RCI
Made of 100% wood, pigment. Model is 34 x 18 cm and weight 1 kg.
A classic’ mask developed among the Bete, a continuous forehead, coffee bean eyes, and hemispheric protruding mouth. The present Bete mask consists of medium-weight wood. The deep-set face is white (by means of kaolin), the remaining areas dyed a dark brown colour. Mask such as this were the emissary of the occult powers and establishes a link between the material and the invisible. Each mask has an individual name, usually kept secret. Its function is to evoke a mythical past. The masks are made available to the chief to guarantee the prerogatives of the political power.
SONGYE MASKCONGO(RDC)
Model is 32 x 30 - 0,6kg
The Songye people of the Democratic Republic of Congo (formerly Zaire) are closely related to the Luba people of the same region. Both use a variety of face masks for social control and village purification. The Songye were formerly a warlike people and used their masks to frighten enemies, as well as to frighten away evil spirits from the village or from a sick individual plagued by them. The masks are danced by secret societies to protect the village and are usually worn with a full body costume of raffia. Songye masks are typically characterized by striations carved into the face, representing the facial scarification used by Songye warriors.
SONGYE MASK-RDC
Made of 100% wood.
Model is 8 x 17 and weight 1kg.
African polychrome mask offering a certain "cubist" structure. The center is carved with large eyelids placed obliquely, extended by a geometric nose and mouth. The lower part of the face continues in a very slightly concave flat tint. Deep colored grooves emphasize the volume of the skull and the flatness of the cheeks. The term Kifwebe designates the mask, the society of masks, and the wearer of the mask belonging to the male secret society bwadi bwa kifwebe which ensured the social control. Matte polychrome patina, erosions. Cracks. In the 16th century, the Songyes migrated from the Shaba region to settle on the left bank of the Lualaba, in Katanga and Kasai. Very present in their society, divination made it possible to discover sorcerers and to shed light on the causes of the misfortunes that struck individuals. The masked performances of male masks provided an opportunity to carry out punitive expeditions and maintain social order. The female masks, supposed to be equipped with divinatory faculties, activated by their dances the benevolent spirits.
KUMU MASK-RDC
Made of 100% wood.
Model is 27x 18 and weight 0.3kg.
African kumu mask whose pastillage bears the imprint of the pygmy influence. A ridge divides the forehead and extends over the nose, while the widely hollowedout eyes are surrounded by kaolin. The protruding lower lip reveals a sharp set of teeth. According to M.L. Félix, the African masks produced by the clans living in the north of the Ituri region mostly adopt stylized features sculpted on a shallow base, and their decoration evokes the animal world, accompanied by color pigments similar to those that adorn the bodies during initiation rites. Similar masks, decorated with dotted lines, were however worn in Ubangi by the Ndunga and Zande of the northeast, where initiates and elders wore this type of body paint on certain occasions. Light pigments applied with a finger on a brown background. The Kumu, Bakumu, Komo, live mainly in the northeast and center in the Democratic Republic of Congo. Their Bantu language is Komo or Kikomo. Several ethnic groups are closely intertwined, with similar associations: the Mbole, Yela, Lengola, and Metoko. Their artistic production also has great similarities with that of the Metoko and Lengola. Their divination masks were exhibited at the closing ceremonies of the initiation and circumcision of the youth of the nkunda society. It is indeed in the Maniema region around the Lualaba River and the Great Lakes that Lega sculpture has largely exerted its influence. A costume made of bark textiles and plant fibers concealed the wearer. Biebuck would have noted a great similarity between the rituals accompanying the appearance of Kumu masks and those of the muminia masks of the Lega.
DOGON MASK-MALI
Made of 100% wood. Model is 82 x 52 and weight 1.5 kg
Authentic carved Kanaga mask, one of the most popular types of masks in the Sanga region. Depicting an abstract animal and two ancestral Nommo figures in a superstructure, masks such as this one, are worn primarily at Dama, a collective funerary rite for Dogon men. The ritualâs goal is to ensure the safe passage of the spirits of the deceased to the world of the ancestors.
KUBA MASK -CONGO
Made of 100% wood. Model is 34 x 22 and weight 2 kg.
of funerals, enthronement, or for circumcThis African mask of the Kuba type was used during initiation rites. Sculpted in a soft wood, it offers little depth, and altered contours. Her tiara is pierced with holes to attach the raffia that completed the dancer's outfit. Wicker ties remain fixed behind the ears. Velvety matte patina, erosions, cracks. Height on base: 49 cm.
The Kuba kingdom was founded in the 16th century by the Bushoong who are still ruled by a king today. More than twenty types of tribal masks are used among the Kuba or "lightning people", with meanings and functions that vary from group to group. Ritual ceremonies were an opportunity to exhibit decorative arts and masks, in order to honor the spirit of the deceased or to honor the king. Three types of masks linked to Kuba mythological history have been associated with dances that take place in the royal enclosure, on the occasion isions
KUBA MASK-CONGO
Made of 100% wood. Model is W 20 H 31 and weight 2 kg.
This Kuba mask of a warrior, not belonging to the royal masks, named Ishyeen imaalu and also Pwoom itok , belonged to the babende society.
. It has exorbitant conical pupils highlighted by horns that refer to warrior headdresses. Polychrome patterns alternate on the satin surface.
Slight chips in the patina.
Nature spirits, the ngesh, were believed to be embodied in Kuba masks during dances. The footprints of the dancers were then erased so as not to "hurt" the women venturing into the dance area. This mask appeared during initiation ceremonies, sometimes at the funerals of notables. The Kuba kingdom was founded in the 16th century by the main Bushoong tribe, which is still ruled by a king today, and whose capital was Nshyeeng or Mushenge. More than twenty types of tribal masks are used among the Kuba or "people of lightning," with meanings and functions that vary from group to group. Ritual ceremonies were an opportunity to display decorative arts and masks to honor the spirit of the deceased or to honor the king.
Three types of Kuba masks have been associated with dances held in the royal compound: the first, called Moshambwooy , represents Woot , the founder of the Bushoong subtribe, the culture hero. The second, known as Nady Amwaash (Ngaady Un Mwash), embodies Woot's wife/sister, a character that would have been introduced to give more importance to the role of women. The third mask is called Bwoom . Source: "Kuba" 5Continents.
BEMBE MASK-RDC
Made of 100% wood.
Model is W 25 H 64 and weight 1 kg.
Two large concave orbits fitted with globular eyelids, incised for vision, occupy the upper part of this African Bembe mask. The frightened owl would have inspired these zoomorphic characters. A tubular mouth protrudes. These masks accompanied the rituals of passage during the Bwami's circumcision ceremonies. Two-tone matt patina. Residues of kaolin
KIDUMU TEKE MASK –
DRC ZAIRE
Made of 100% wood and pigments. Model is W 27 H 32 and weight 0.4kg
The Kidumu moon shaped masks are worn by members of the Kiduma – a secret society which plans and executes celebrations, feasts and funerals., and belongs to the revival period of the Teke, people of the Democratic Rep. of Congo. Part of a mask costume, these headpieces appeared in masquerades linked with a nature spirit called Nkita. Young male members of an association entered the village from the wilderness and executed vigorous, cartwheeling
BAULE MASK (SOL) –RCI
Made of 100% wood. Model is W 32 H 51 and weight 1 kg
This type of African mask is a Baule mask which is worn at Goli rituals. It is used in tribal dances during harvest festivals, in processions to honour distinguished visitors and at the funerals of important figures. The circular face represents the life-giving force of the sun and the horns symbolize the great power of the buffalo. The mask is made of wood with two holes cut into the eyes to enable the wearer to see. The rectangular mouth is also typical of this type of mask.
LEGA JANUS MASK -RDC
Made of 100% light hand-carved cane wood, fiber, and pigments.
Model is W 30 H 21 and weight 0.8 kg.
The present Janus figure Lega mask originates from the Bwami tribe in Congo. A well-carved example of Lega wooden face mask, carved from lightcoloured wood and with the typical, heart-shaped
MASK BAULE – RCI
Made of 100% wood.
Model is W 23 H 38 and weight 1 kg.
Beautifully carved Baule ancestral portrait originating from Ivory Coast. These refined human face masks are usually portraits of particular known individuals or dignitary celebrated during a ceremonial dance called Mbloâ .Masks such as this one were used in entertainment dances and are one of the oldest of Baule art forms. Baule art is sophisticated and stylistically diverse.
DOGON MASK -MALI
Made of 100% wood.
Model is W 17 – H 31 and weight 2 kg
This abstract Dogon monkey mask has a traditional geometric shaped face, eyes, and ears, a prominent groin decorated with geometric motifs, crusted old wooden
BAULE MASK - RCI
Made of 100% wood.
Model is W 19 H 32 and weight 0.3 kg.
The very characteristic, round-shaped "lunar" goli is surmounted by two horns. Celebrating peace and joy, the Baule would sing, dance & drink palm wine. The Goli would be used on the occasion of the new harvest, at the visit of dignitaries, or at the funerals of notables.
Four pairs of danced masks appear in the Goli procession, & this disk mask represents Kple Kple, the young male adolescents. It symbolizes both sun & buffalo features.
The mask was also danced through the village to avert evil. It is a humorous mask, which imitates a mischievious, disobedient child.
KUMU MASK- RDC
Made of 100% wood. Model is 38 x 18 and weight 1kg.
The African masks nsembu , embodying the spirit of divination, appear in pairs during the rites of the nkunda , babankunda society. Characterized by its gaping, geometric features, this mask also offers a gridded surface of different shades of brown. Satin patina.
The Kumu , Bakumu, Komo, live primarily in the northeast and central Democratic Republic of Congo. Their Bantu language is Komo or Kikomo . Several ethnic groups are closely intertwined, with similar associations: the Mbole, Yela, Lengola, and Metoko. Their artistic production also has great similarities with that of the Metoko and Lengola. Their divination masks were exhibited at the closing ceremonies of the initiation and circumcision of the youth of the nkunda society. It is indeed in the Maniema region around the Lualaba River and the Great Lakes that Lega sculpture has largely exerted its influence. A costume made of bark textiles and plant fibers concealed the wearer. Biebuck would have noted a great similarity between the rituals accompanying the appearance of Kumu masks and those of the muminia masks of the Lega.
BEMBE MASK -
Made of 100% wood. and weight 0.8 kg.
Two large concave orbits fitted with globular eyelids, incised for vision, occupy the upper part of this African Bembe mask. The frightened owl
zoomorphic characters. A tubular mouth protrudes. These masks accompanied the rituals of passage during the Bwami's circumcision ceremonies. Two-tone matt patina.
MASK DOGONMALI
Made of 100% wood.
Model is W 17– H 39 and weight 1 kg
This zoomorphic Dyodyomini
Dogon mask made of Hardwood with a kaolin coating is an exceptional piece for your collection. It originates from Mali, located in the administrative districts of Bandiagara and Douentza, Mopti region. The term Dyodyomini which designates this type of mask evokes a bird that pecks. It would be a Dobu, a sort of hornbill, white and brown, with a long curved beak. It was created on the occasion of a Dama (funeral ceremony, the feast of mourning).
OGONI MASK-NIGERIA
Made of 100% light hand-carved cane wood, fiber, and pigments. Model is W 17 – H 25 and weight 0.4 kg
This “Elu” mask originates from the Ogoni tribe in Nigeria. Scarification marks with geometrically incised designs appear on the forehead. The eyes are hollow almond shaped openings. The head decoration has a raised portion representing ancestors or title holders.
This Elu mask originates from the Ogoni or Obgoni tribe, Nigeria, early 20th century. “Elu” means “spirit”. It is used by many masculine combinations in Obgoni and a really good example of a classic Ogoni wood mask. It is hand carved cane wood and fiber. The face is pigmented white with yellow and red, black eyebrows and accents. Semicircular disc like ears protrude from sides of the face and would have been worn in such a way that it covered half the face and the wearer. Elu masks, such as this one, are danced by young members of secret men’s societies that have social, religious, or governmental functions. The small masks are attached to cone-shaped caps of fiber and cloth that cover the heads of the dancers. They are usually danced at annual festivals or at funerals of members of the societies. The Ogoni are perhaps the oldest settlers of the Eastern Niger Delta, living south of the Igbo, west of the Ibibio, and just inland from the Andoni peoples of the Atlantic coast. Because they encountered the British at a relatively late date (1901) and received comparatively less Westernized education than their neighbors, the Ogoni have maintained more of their precolonial culture and their arts exhibit less iconoclasm than that experienced by other groups. Though sculpture varies regionally, the majority fall into one of several categories: small face masks of men and women with articulated jaws and narrow teeth, usually made of cane; larger and more grotesque masks representing unruly spirits, some of which have articulated jaws; small masks depicting animals, such as antelope, goats, deer and monkeys; larger masks depicting fierce animals, such as crocodiles, leopards and pigs; human figures worn on top of the head representing ancestors or title holders; headdresses representing marine figures and worn on top of the head horizontally; carved figures of title holders, ancestors or Mami Wata; or puppets with articulated limbs and jaws. Historically, masks were worn in ritual performances for funerals and when yams were planted and harvested. More recently they appear at Christmas and New Year celebrations and to welcome important visitors.
BAMILEKE ELEPHANT MASK - CAMEROON
Measurements: 115 x 53 cm
Material: raffia, clothing, beads and fiber Weight: 1.5kg
The Bamileke people and their neighbors the Babanki and Bamoun people of Cameroon are closely related and have similar artistic styles. Bamileke society is highly structured by lineage, with some royal lineages exclusively permitted to wear certain masks, which may represent people, such as kam, ngoin, or animals, and are mainly used at funerals and annual harvest festivals. The cloth mask representing the elephant, known as mbap mgteng, represents a powerful animal on the African plains. Its use is reserved for elite members of the Kuosi Society, who assist the fon (king) in maintaining the society.
The beads were historically brought from Europeans and were very expensive, so their use in a mask represents a high status. The richer the embroidery on the mask, the greater the degree of power of the person wearing it.
Beadwork is associated with royalty and high position, the Bamileke beaded elephant mask is a powerful symbol of power, distinguished by its large ears and front and back panels that represent an elephant's trunk.
Powerful animals such as leopards, buffaloes and elephants are generally associated with political power in the highly stratified grassland kingdoms of Cameroon.
MAKONDE MASK – MOZAMBIQUE
Made of wood, pigment. Model is W 31 44 and weight 0.4 kg.
Made of a soft and lightweight wood and decorated with pigment, this face mask (also called lipiko) originates from the Makonde tribe of Mozambique. A mouth opening and distinct recessing in the eye areas as well as lips of a darker pigment and eyebrows that have been craved and then darkened, give the mask a lively appearance. The vertical grain of the wood on the upper lip, in which a lip plug (labret) is carved, accurately imitates the look of stretched skin. In Makonde culture, the lip plug is called an ndona. These kidn of mask were worn by men in masked performances in a series of celebration called mapiko about which far more is known than the use of the face masks. When, in this male dominated part of Makonde culture, the men wear these masks, they take on not only their own identity â a man in a mask â but also the dramatic depiction of a character and the incarnation of an ancestral spirit. Men make the masks in secret and talk of them in public is prohibited in order to maintain the separation between reality and the spiritual realm of the mapiko.
MAKONDE FIGURINE-
The Makonde style is often distinguished by a sloping forehead offset by heavy jowls; a mouth with a fleshy upper lip wearing a labret and hiding the chin; large oval eyes; a flat nose, and large, finely sculpted nostrils. These rare wooden sculptures were called masinamu (singular “lisinamu”) and represented mythical ancestors of the clan as well as deceased elders. In the pre-colonial era, the Makonde did not have real chiefs: only the oldest of the clan and the humu diviners (plural vahumu) were authoritative. Within this group, an important cult was practiced: the wisest ancestors practicing ntela (“medicine”) were venerated as minor deities. The masinamu were preserved in the habitats of village chiefs and vahumu where they were probably associated with ancestral tombs. They were often painted and decorated with Makonde tattoos. The head magnificently sculpted in the classic Makonde style, with the exquisite contrast of the black face, white eyes and red headdress, makes this large sculpture one of the most successful and one of the only ones to have been
MAKONDE FIGURINEMOZAMBIQUE
The Makonde style is often distinguished by a sloping forehead offset by heavy jowls; a mouth with a fleshy upper lip wearing a labret and hiding the chin; large oval eyes; a flat nose, and large, finely sculpted nostrils. These rare wooden sculptures were called masinamu (singular “lisinamu”) and represented mythical ancestors of the clan as well as deceased elders. In the pre-colonial era, the Makonde did not have real chiefs: only the oldest of the clan and the humu diviners (plural vahumu) were authoritative. Within thisv group, an important cult was practiced: the wisest ancestors practicing ntela (“medicine”) were venerated as minor deities. The masinamu were preserved in the habitats of village chiefs and vahumu where they were probably associated with ancestral tombs. They were often painted and decorated with Makonde tattoos. The head magnificently sculpted in the classic Makonde style, with the exquisite contrast of the black face, white eyes and red headdress, makes this large sculpture one of the most successful and one of the only ones to have been preserved in private hands.
Bembe Male Fetish
Figure – Congo
Made of 100% wood. Model is W 10 – H 10 and weight 0.5 kg.
This Bembe statuette originates from the Central African Democratic Republic of the Congo Bembe People. Bembe ancestor statues are rare and they can only be found in the south western part of their territory. It is a male Fetish or Power Figure ‘Bilongo’. They mostly represent Heads of village, warriors and women.
OKUYI MASK, PUNU
TRIBE – GABON
Made of 100% wood, kaolin, pigments. Model is W 21 â H 38 and weight 1.1 kg
This beautiful mask called ‘Okuyi’ or ‘Mukudji, is a superb classicism originating from the Punu tribe, south of Gabon. It was worn during acrobatic dances by men on stilts. It was worn during acrobatic dances by men on stilts. They may also have had a judicial function or worn on the occasion of collective misfortune such as (epidemic, crime, witchcraft).
BAULE KPAN MASK – RCI
Made of 100% wood, pigment Model is W 25 – H 46 and weight 1 kg.
Beautifully carved Baule ancestral portrait originating from Ivory Coast. These refined human face masks are usually portraits of particular known individuals or dignitary celebrated during a ceremonial dance called Mbloâ. Masks such as this one were used in entertainment dances and are one of the oldest of Baule art forms. Baule art is sophisticated and stylistically diverse.
CHOKWE MASK –ANGOLA
Made of 100% wood, fiber, Patina. Model is W 24 â H 38 and weight 1.2 kg.
This looted ancestral chokwe mask, with an elaborate hairline made up of a braided fibre fabric, beautiful and unusual scarification patterns on the front of the mask and cheeks originates from Angola. Pwo signifies womanhood and an elder ancestral female associated with fertility. The cross form on the forehead, known as cingelyengelye, is an early Portuguese influence.
DAN PORTRAIT MASK,-IVORY COAST/LIBERIA
Made of 100% wood. Model is W 17 H 25 and weight 0,6 kg.
This antique mask originate from the Dan people who live in the western part of Ivory Coast and eastern Liberia. Mask such as this are generally characterized by a concave face, a pointed chin, a protruding mouth, an upturned nose and a high-domed forehead. The Dan people refer to these masks as gle or ge, terms that refers both to the physical mask and the individual spirits the mask is believed to embody during masquerade performances. The masks were used for traditional functions ranging from entertainment to initiation to social control. Masks are the most important art form of the Dan people of Liberia.
LUBA SONGYE KIFWEBE
MASK – CONGO
Made of 100% wood
Model is W 25 – H 10 and weight 1.2 kg.
This striated masks, or Kifwebe, originates from the Songye, southern part of the Democratic Republic of the Congo. These types of masks were used to mark important periods of social transition and transformation, appearing at the death of a chief or any other eminent person, or when a person assumes an important political title.
