THE ARTISTIC RICHNESS OF AFRICA - FEATURED COLLECTION

AFRICAN ARTE THE ARTISTIC RICHNESS OF AFRICA

CURATED BY AFRICAN ARTE GALERIA

Discover the diverse arts of Africa in this privately owned collection featuring select cultures and time periods on the world’s second largest continent.

DECEMBER 2018

COLLECTION HIGHLIGHTS

E X P L O R E

T H E

C O L L E C T I O N

Collection Explored...

We invite you to explore this culturally-rich private collection curated by African Arte Gallery, and owner Seydou Mamadou Keita. This collection comprises nearlier 200 pieces of sculptures and utilitarian objects, and bronze works. These works of art testify to a great variety of artistic traditions that can be related to large ethnic or tribal groups.The traditional figurative art concisely explains their distinguished historical and functional characteristics.

In societies devoid of writing, African art has provided material support for speech by giving it a certain visibility and facilitating the transmission of tradition, and thus contributes to humanities, forms of life, societies, and to the religious beliefs that motivate the creation and use of it.

The symbolic result of an evolutionary process, based on mankind's rich history and diversity deriving from migrations, wars, and alliances: innumerable works, in wood or earth, disappeared, but some of them contribute today to the enrichment of our knowledge, and remain a rarity. To fully appreciate the significations of these works, it is necessary to associate them with the forms of life, societies, and to the religious beliefs that motivate the creation and use of it.

"It is a simple fact that I need these objects.

Looking at them in books or museums is not the same. I need to surround myself with the real thing..."

A beautifully crafted leopard Bronze Vessel used in occasions where the king is being presented with some gifts. Also in many courtyards this was kept outside the hallway of the king, and the bigger the Leopard the bigger the wealth of the king, where as the Monkey shown on top was ususally a depiction of the intelect of the King.

Made of 100% Bronze, lost-wax Model is W 31 – H 36 and weight 4 kg.

Edo-style Royal Bronze Leopard Vessel

Oba Royal Musician - Benin

Ife Royal Oba Figure - Benin This sculpture portrays an “Oba” dressed in full ceremonial regalia.

The beads that make up his chest covering, his high neckpiece, beaded collar that reaches his mouth, and the net-form headdress were actually made of coral. There are winglike projections on the crown, which are thought to represent the ceremonial swords of the court. The custom of art and artists among the Yoruba is deeply rooted in the Ifá literary corpus, indicating the orishas Ogun, Obatala, Oshun and Obalufon as central to creation mythology including artistry (i.e. the art of humanity).

Made from 100% bronze.

Model: W 28 - H 84 and weight 10 kg

Oba Royal Horserider Benin A genuine, well preserved bronze statue from the Benin Kingdom (Nigeria) with beautiful designed and attention for detail . It is believed that the riders are highly revered and it symbolises wealth and power.

Made from 100% Bronze, copper alloy Model: W 68 - H 63 and weight 24 kg

Bronze Edo Dwarf - Nigeria

Bronze Edo Dwarf Nigeria This finely carved bronze figure represents a dwarf at the court of Benin. Wearing courtly dress in continuation of the traditional bronze art of Benin in form of a bearded person with o-shaped legs and neck adornment. In Edo culture dwarfs were known as the jugglers and acrobats in the Oba court.

Made of 100% Bronze.

Model is W 21 – H 46 and weight 5 kg

This finely crafted pair of Royal leopards, a male and a female, were made by a craftsman blacksmith using the technique of lost-wax, with beautifully detailed striations, depicting the leopard skin. The "Leopard" was used as a symbol of Justice and power in the Yoruba culture and came to be a royal symbol as it heralded balance between his strength and his reserve and moderation as a leader. A complete harmony between two compelling forces – that, in Benin, it is believed every ideal Oba ( King) should possess.

Made of 100% Bronze, copper alloy.

Male: W 156 – H 86 and weight 27 kg Female: W 151 – H 81 and weight 26 kg

Edo Pair of Royal Leopard - Benin

Kota Mahongwe Reliquary Figure Gabon This highly abstract form belongs to the subgroup ‘Kota Ndumu’. The figure consist of a wooden figural sculpture encased in metalwork, with protruding eyes defined by brass bosses and a triangular brass nose. Although threedimensional, the sculpture has distinct features with a narrow turso bound with metal strips and wooden concave head, sometimes surrounding a brass face that resembles an erect cobra. Bankota people places an importance in the connection between the sculpture and their ansector, it is believed Kota Mahongwe wields great power in the afterlife.

Made of 100% Wood, brass, pigment.

Model is W 16.5 H - 48 and weight 1 k

Kota Mahongwe Reliquary Basket Gabon At the death of a chief, parts of his body would be decorated with metal and rubbed with magical powders.

These would be kept in baskets surmounted by stylized figures which the Europeans called "naja" because they resembled the head of an erect cobra. The formal sculptural presentation of the figures were often enhanced by brass sheets worked in a repousse technique and by brass metal strips worked in design across the face of the sculpture. The reliquaries were kept outside homes, and only the initiates of the lineage had access to this sacred place.

Made of 100% Wood, brass.

Model is W 16 – H 66.5 and weight 13 kg.

Kota Mahongwe Reliquary Figure - Gabon

Kota Bwete Reliquary Figures - Gabon

Kota Reliquary Mbulu Ngulu Gabon This rare reliquary guardian figure stylistically belongs to the subgroup ‘Kota Ndumu’ or ‘Kota Obamba’ of the south of the Kota settlement area (in the headwaters of the Ogowe river). These rather twodimensional sculptures are in wood; symbolic metals were applied to the upper part in strips or brass sheets to add power. Copper in particular was identified with longevity and power. The guardian figure showcases an extravagant long, oval face separated into four sections by two flat, yellow brass sheets in a cross shape. A slender brass nose sits in the centre, with a triangular profile and is surmounted on either side by the brass hemispherical eyes with their small, circular pupils made from copper.

Made of 100% Wood, brass, pigment.

Model is W 29 H - 60 and weight 2kg

Kota Male Reliquary Figure - Gabon This finely carved bronze figure represents a dwarf at the court of Benin. Wearing courtly dress in continuation of the traditional bronze art of Benin in form of a bearded person with o-shaped legs and neck adornment. In Edo culture dwarfs were known as the jugglers and acrobats in the Oba court.

Made of 100% Bronze Model is W 21 – H 46 and weight 5 kg

Ife Bronze Royal Head - Benin This ravishingly beautiful royal head with unwavering calmness, perfectly proportioned, elegantly cast originate from Ife, Nigeria. It is believed to represent a portrait of a ruler known as an Ooni or Oni. It was likely made under the patronage of King Obalufon II whose famous naturalistic life size face mask in copper shares stylistic features with this work. As with most Ife heads, the warrior's face is covered with a dense network of lines that probably represent a set of tribal striations incised into the skin. Their effect, though, is never one of fierceness or bellicosity. Instead, the insistent patterns seem to bring an unshakable elegance to these taut, unwrinkled faces. The final effect is always of deep composure.

Made of 100% Bronze, copper alloy.

Model is W 22 – H 36.5 and weight 5.5 kg

The brilliance of art as a collectible is that it has a way of reaching out on an emotional level. It touches on mystery, even spirituality.

Royal Bronze Oba Plaque – Nigeria These authentic, well-preserved bronze plaques of the Benin Kingdom in what is now Nigeria exhibit a virtuosity and sophistication of style that has astonished the Western world.

The figures and poses are classic from the high period of Benin art in the 15th century and honor the King or Oba.

Made of 100% Bronze Model is W 21 – H 46 and weight 5 kg

Equestrian Bronze Oba Plaque – Nigeria Made of 100% Bronze.

Model is W 21 – H 46 and weight 5 kg

This finely carved bronze figure represents a dwarf at the court of Benin.

Wearing courtly dress in continuation of the traditional bronze art of Benin in form of a bearded person with o-shaped legs and neck adornment. In Edo culture dwarfs were known as the jugglers and acrobats in the Oba court.

The beautiful bronze cast mask with animal features comes from the people of Senufo, Ivory Coast. The mask combines features of animal and humans which profess to facilitate com munication with ancestors including Kolotyolo, the “ancient mother�.

This charming bronze figure depicts a “Kotoko Equestrian, Guardians of the Soul” –the horse and riders has a strong symbolic meaning in the culture of the Kotoko people (Chad). They believe to bring good luck or blessings of the gods.

This bronze horseman originates from the Dogon who live at the base of the Bandiagara escarpment near the Niger River in Mali. Dogon figures showing horses and riders depict the prestige and power surrounding an animal that has been associated with these qualities since it was introduced into West Africa more than a thousand years ago. It is believed that the horse was the very first animal to inhabitate the earth. Hence the horse motif is found throughout Dogon art.

Sao Seated Female Chad This unique Sao young female playing a musical instrument perched on a stool with an elongated abdomen, reflecting on the instrument being used, showcases a sense of elegance in a simplistic and elegant craftsmanship.

Made of 100% Bronze.

Model W 26 - H 15 and weight 0.14 kg

Bronze Brass Statue of Rooster - Nigeria This fetish brass rooster is a handsome example of Dogon art; and as such, presents a style that greatly influenced the art of the West. It was used as an altar piece. In the Dogon religion, the rooster is an important symbol and associated with the Jackal and the failed experiment.'

Made of 100% Lost wax casting.

Model is W 52 – H 57 and weight 7 kg.

Dogon Iron-forged Equestrian - Mali This unique equestrian figure forged from iron eludes a sense of power and prestige in the mist of its simplistic and beautiful craftsmanship. It is said to bring honor to the ancestors of the people of Dogon (Mali).

Made of 100% Iron.

Model W 11.5 - H 14 and weight 0.28 kg

Dogon Ancestral Stool - Mali A beautifully crafted small stool originating from Dogon (Mali). The two flat wood discs according to Dogon cosmogony, represents the cosmos, forming the sky and earth, and supported by the Nommos, the founding ancestors in their descent from sky to earth. The linear patterns at the base suggest the path of their descent and flowing water and refer to the symbol of LĂŠbĂŠ, the first human and priest who was transformed into a serpent after his death. The disk on top serves as an altar surface for libations.These stools are considered to be objects of prestige that defined social status.

Made of 100% Wood.

Model W 22 - H 23.5 and weight 2.5 kg

" The collector is an artist in his own way, by the way he puts things together. You can read a person's soul from their collection."

Luba Kalundwe Royal Cup - DRC This magnificent royal cup originates from the Kalundwe peoples, of western Luba, Democratic Republic of the Congo. The finely carved sculpture is shaped like human heads with twin drinking receptacles on their underside and are among the rarest of Luba and Luba-related insignia. Luba sculptures usually represent female figures with attributes of Luba beauty, including dense scarification marks and elegant coiffures. A spirit is attracted to an emblem of royal power that bears these marks of beauty, just as men are to those of a woman. Luba cup such as this one must have been a magnet for spiritual power, a receptacle of royal secrets, and a symbol of continuity for the dynastic line.

Made of 100% Wood.

Model is W 28 H 14.5 and weight 2.5kg

Fang Mvai Byeri Reliquary Figure, Gabon This impressive statue, a representation of the ancestor eyema byeri from the Fang of North Gabon, exhibits the distinctive style developed by the Mvaï, a small and ancient group of the Ntem valley. The style of Mvaï Fang, which one can relate to the artistic corpus of the Southern Fang (North Gabon), is one of the most sophisticated and impressive in terms of the sheer craftsmanship. The carriage of the head is imbued with nobleness and serenity, and fashioned to inspire respect and a healthy fear in those who looked upon it, conducive to the rites over which it presided.

Made of 100% Wood, pigment.

Model W 9 - H 22.5 and weight 0.47kg

Yoruba Ere Ibeji Nigeria An Ere ibeji is a wooden carving of a male or female figure once used by the Yoruba. The figure is thought to be a focal point for the spiritual energy of the deceased twin who, according to Yoruba traditional thought, resides in the supernatural realm where he/she is cared for by a spiritual mother.

Made of 100% Wood, pigment.

Model W 6.5 - H 28.5 and weight 0.13kg

Fali Matakam Fertility Doll - Cameroon The Fali doll is a symbol of marriage commitment among the Matakam of Cameroon and represents their future child. The man gives the doll the gender that he desires for his first-born. The young woman cares for the figure until the promised child is born; at this point, the couple carefully stores the doll away.

The Fali doll is very rare piece and fragile, and has remained a true representation of the Fali tradition.

Made of 100% leather, threads, beads.

Model W 9 - H 26.5 and weight 0.05 kg.

Matakam Fertility Doll – Cameroon A fertility doll from Cameroon that fits forms from two different tribes: the Namchi and the Matakam. The shape of the doll is decidedly Namchi, but the materials suggest Matakam, with cloth wrapping and iron skeleton. Namchi dollsAmong the Namchi people of Cameroon, unadorned dolls made by blacksmiths are played with by young children.

When beads, bells, coins, and other ornaments are added, however, the doll becomes a surrogate baby for a woman who was having difficulty getting pregnant. The woman treats the figure like a baby, feeding it and carrying it on her back.

Made of 100% Fabric, iron, pigment.

Model W 9.5 - H 20 and weight 1 kg.

This abstract figure sculpted from dense wood with a crusted pattern eludes a sense of power and prestige which can be depicted through the enlarged head of the rider overshadowing the horse. It is said to bring honour to the ancestors of the people of Dogon (Mali).

Dogon Fetish - Mali These miniature Dogon fetish sculptures are ritual objects placed on personal altars in order to anchor the spiritual power of the ancestor to whom the altar is dedicated. The statuette belongs to a group of small figurines called healing fetishes which are thought to give substance to invisible spiritual intermediaries. Carved by Dogon priests these figures can be invoked for aid but will die if neglected. Thus, for the Dogon spiritual leader, the hogon, it is not just a simple officiant but a sacred figure.

Made of 100% Fabric, iron, pigment.

Model W 14.5 - H 31 and weight 1 kg.

Dogon Armlet Currency - Mali Beautiful antique Dogon currency armlet made of Bronze and decorated with protective signs and symbols. This type of bracelets were highly prized in Western Africa from 1600-1900, and utilized not only as jewelry and Currency Trade Money, but also as a portable wealth. Metal works like this Dogon bracelet is molded in bronze by the lost wax method, also called cire-perdue.

Made of 100% Bronze, Alloy.

Model W 7.32 - H 8 and weight 0.26 kg.

Dogon Currency Bracelet - Mali This is an antique, copper metal, bracelet / arm band which was worn and used as currency by the Songhai tribal people for trading / buying transactions in Niger, Africa. This money currency piece has some etched design patterns.

Currency bracelets & anklets served as indications of wealth and were used to store finances, pay for dowries and buy or trade for livestock and goods. The use of primitive money was especially prolific in the area around the Congo basin and the Gold Coast regions. On the west coast of Africa, from the Congo, north to Senegal, bronze bracelets (properly called Manillas) were worn both for personal adornment and for use as money.

Iron-forged Dogon Currency - Mali Beautiful currency slave trade bracelet, sometimes very heavy and cumbersome was used as currency and could make up the dowry of a woman in a marriage.

They were therefore likened to money. Bracelets of this size and weight were high denomination slave barter artifacts and were used for that purpose during the infamous Slave Trade Era. A Manila of this size was generally valued as a direct trade for one slave.

Made of 100% Brass /Bronze.

Model W 3 - H 4.5 and weight 0.08 kg.

Ambete Mbete - Gabon This Ambete (Mbete, Mbede, Mbete and Mbeti) figure originates from Kota, in the Republic of Congo near the northern frontier of Gabon and also in northern Gabon. Hands held in front of stomach, stylized relief facial features with a rectangular mouth, central crested hairdo. White pigmented surface with painted black highlights surfaces somewhat encrusted. Fully carved figures, such as this excellent example, had a niche carved into the back for magical ingredients. The latter are thought to have a connection with the ancestor`s cult. Â They are believed to function as guardians of the remains of ancestral bones housed in a separate hut in the village.

Made of 100% Wood, pigment.

Model is W 21.5 – H 45 and weight 1.5 kg.

Kibuyu Maasai Gourd - Kenya The Maasai are completely dependant upon their cattle, as they use it for their daily tradittional drink, the staple food of the Maasai herdsman, and to store mile and honey beer. The gourds are made for this effect, cut from their vines, dried, and scooped inside out, and decorated with cowrie shells and beads, as well a leather strap. The interior would be sterilized by burning.

They were treasured, mended when broken, and used for years.

Made of 100% Gourd, Leather, Beads.

Model W 15.5 - H 43 and weight 0.32 kg.

Ivory Tusk Headdress - Angola An ivory tusk bust carving in the form of a young woman with an elaborate headdress.

Made of 100% Ivory.

Model W 7 - H 25 and weight 0.84 kg.

Terracotta Djenne Mother-Child - Mali

Terracotta Djenne Mother-Child - Mali This unique terracotta DjennĂŠ (Jenne) style mother and child, originate from Middle Niger terracottas.

Maternity figures are relatively common in contemporary African art and refer to human fertility, abundance, or increase. They were undoubtedly important in ancient times, but just how and why such figures were used will probably never be known. The art of the inner delta of the Niger, the region formed by the triangle of the cities of Mopti, Ke Macina, and Djenne, bears witness to an astonishing richness of invention and a lively concern with detail.

Made of 100% Terracotta Model is H 63 – W 25 and weight 20 kg.

Dogon Ancestral Royal Figure - Mali

Dogon Ancestral Royal Figure - Mali This extremely detailed and well-rendered sculpture of a standing male wearing what seems to be a crown was made by a master carver of the Dogon group, Mali.

The piece is unusual in terms of its dynamic composition, with an elongated torso and short bowed legs, holding a gourd.

There is also little information with which to identify the persons represented by the figure.

He seems to a village leader. Carved for personal or family use, they commemorate the foundation of a community and are worshiped by the village.

The patina is encrusted and irregular, implying long usage and probably the application of libations.

Made of 100% Wood.

Model is H 70 – W 21 and weight 2.5 kg.

Ife Bell – Benin Made of 100% Bronze, copper alloy.

Model W 7 - H 14.5 and weight 0.08 kg.

Tribal bells were used for a variety of purpose, such as proclaiming a sacred presence as well as neutralizing hostile or harmful forces within the Ife tribe of Benin. Bells were also used for communication, such as a portable instrument for conveying important messages, and as a form or currency.

Using the bells and rattle stuffs to call the ancestor’s spirit, the Oba offered sacrifices to him and to the earth on the altar.

Nkissi Nkonde - Kongo A nkisi is loosely translated as a "spirit" yet it is represented as a container of sacred substances which are activated by supernatural forces that can be summoned into the physical world. A fascinating example of a nkisi can be found in a the power figure called nkisi nkondi Nkisi nkondi figures are highly recognizable through an accumulation of pegs, blades, nails or other sharp objects inserted into its surface. A nkisi nkondi can act as an oath taking image which is used to resolve verbal disputes or lawsuits (mambu) as well as an avenger (the term nkondi means ‘hunter’) or guardian if sorcery or any form of evil has been committed.

Made of 100% Wood, needle, metal, fabric.

Model is H 93 – W 36 and weight 8 kg.

Nkissi Nkonde - Kongo

Songye Nkisi (Power Figure) – DRC

Songye Nkisi (Power Figure) – DRC This imposing standing male figure is the joint creation of a skilled carver and a trained ritual practitioner, or nganga.The face is sensitively rendered with stratiation, and semi-circular eyes closed under arched eyebrows that extend on either side towards the jaw lines.

These give the face its distinctive Vshape, interrupted by the short horizontal line of the chin. The body is a succession of articulated angular shapes, from the squared off shoulders and tubular arms to the side of the torso, to the protruding abdomen on either side of which the hands rest, and the telescoping cones forming the thighs and calves.

Large-scale power figures such as this example were central to the life of Songye communities. The ritual 'power' figures nkishi was kept in a special enclosure positioned in a highly visible location, such as the center of the village or near the chief’s house, in order to counteract the forces of the evil spirit, which are at the root of the problem, and so to ensure prosperity.

Made of 100% Wood, pigment.

Model is W 17 – H 57 and weight 2.6 kg.

Janus Bamane Marka Mali Janus form masks are commonly found among the Marka, the Bamana and the Malinke. This mask with an elongated double face covered with sheet brass and a crescent hairstyle adorned with brass rings is probably related to the N’Tomo initiation mask for young boys found among the Bamana. The verison has dark, rich patina, and some engraved geometric details adorning the faces. The Marka, living in Mali, Guinea and Burkina Faso are neighbors of the Bamana. Today they are heavily Islamised, however they often retain the use of masks and figures for ceremonies and rituals closely related to the Bamana.

Made of 100% Wood, pigment, fabric.

Model is W 37 – H 45 and weight 0.5 kg.

Lobi Power Figure Burkina Faso This well carved, enigmatic and brooding sculpture, with an essence of movement and lifelike pose, belongs to the Lobi tribe of Burkina Faso. The figure stands with slightly bent knees, counter-balanced by a long torso and accented by the figure’s stoic and serene face.

The figure is called Bateba.

Bateba figuress can have a variety of styles, sizes and forms usually indicating the function of the figure. These figures are exceptionally strong or powerful, and protect against malevolent forces. Â Once placed in an altar (be it a village altar or an individual household altar), the bateba figure becomes inhabited by the appropriate spirit.

Made of 100% Wood.

Model is H 76 – W 19 and weight 6.7 kg.

Dogon House Post - Mali

Agbogho Mmwo Helmet Igbo, Nigeria This hollowed helmetlike mask belongs to the complex of the Mmwo masks of the Ibo, with their white coloured faces. The piece is called Agbogho Mmwo, and originates 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.

The stylized facial features represents numerous attributes of the ideal of beauty among the Igbo. Worn each year for ‘The Fame of Maidens’ ceremony, it is intended to instruct youths in attitudes necessary for moral as well as physical beauty, the moral ideals of purity, obedience, good character and generosity. Varied aged surface with areas of red, white, black and blue pigment.

Luba Jar - D.R Congo W - 15; H - 22.5

Luba Figurative Jar - D.R Congo This Luba figurative ceramic is used as a medicine container by royal diviners to identify and cure illness and, as an oracle. The vessel is carved out of a single block of wood, and was used in the context of divinatory rites and heavily saturated with palm oil. A fiber suspension cord remains attached to the handle.

Made of 100% Wood, pigment.

1Model is H 20 – W 15 and weight 0.24 kg.

Chokwe Lwena Vessel - Angola Dark colored burnished vessel/jug from the Chokwe Lwena people of Angola. This vessel, intricately carved out of a single block of wood, was used in the context of divinatory rites.

Made of 100% Wood.

Model is H 28 – W 1.7 and weight 0.49 kg.

Dogon Zoomorphic Headrest - Mali This heavily hand-carved headrest reminiscent of a turtle originates from the Dogon people in Mali. The wood has a beautiful grain, smooth and comfortable, with a rich patina from having been carried around by its owner, a shaman as he went from village to village for ritual dances or healing ceremonies. This headrest/stool may reflects an influence that neighboring groups can have on the well defined core of Dogon sculpture.

Made of 100% Wood.

Model is W 24.5 – H 57.5 and weight 5 kg.

Baule Gbekre - Ivory Coast

Baule Twin Figure Ivory Coast This double cynocephalus simian figure with human and animal traits represent one of the humbler gods of the Baule tribe. It is called Gbekre or Mbotumbo, a god with several tasks, for he is both judge of hell and helper of those in need, protector of the living against their enemies.

Statues of standing monkeys were used in many different Baule cults, the most prominent of which was Mbra and they are very different in style of other Baule sculptures.

Women are forbidden to see some of them, others are openly shown. The sculpture’s formal focal points are clearly the head and gesture, they hold a cup, and use their hands as a receptacle. The visual attributes of this bowlbearers and their features of a bush animal that takes a human stand are aligned with the work’s function – that of hosting a powerful spirit protector whose forces can only be channeled through the skills of a trained carver and the experience of a Baule priest.

Dogon Fetish - Mali Common to many tribes was the belief that the fetishes acquired power through the ritualistic carving and consecration, the addition of special substances and the recurring activation of its spirit by offering sacrifices and magic words. Some fetishes have the heads or stomachs hallowed out to hold special substances; some have mirrors to reflect back evil or to blind hostile spirits; some are Janus-figures for better vigilance and protection. Among the materials added to the wood figures are horns, paint, cloth, raffia, fur, and herbs; anything thought to add power or magic..

Made of 100% Wood, fiber, horn.

Model is H 79 – W 25 and weight 5.5 kg.

Horn Fetish Chokwe - Angola Authentic fetish are very rare. They serve as object of magical power, like an amulet, talisman or good luck charm. The fetish coming from Angola (Chief Luwangila’s area) was used to facilitate the bond between the Chief and his subordinates during the ceremony, when the Chief was holding it to mark his ultimate commanding powers.

This particular piece is made of horn stuffed with special substances, and decorated with leather, shells and beads.

Made of 100% Horn, Leather, Shells Bead.

Model is H 28 – W 10.5 and weight 0.25 kg.

Dogon Ancestral Figure - Mali

Ekpu Ibibio Ancestor - Nigeria This piece belongs to the Oron group located on the south-eastern part of Nigeria, mainly in the cross river state.

It portrays an Ekpu ancestor, the guardian and keeper of a shrine in which as many as fourteen generations of their forebearers were so honored, assuring the well-being of their offspring. Until the 1930s, the creation of such a work was an essential part of the process whereby an esteemed Oron elder was elevated to ancestral status.

The figure served as a locust, and has features that allude to its exalted social standing with prominent headgear, plaited long cylindrical beard and cleanshaven head, they have narrow bodies in the shape of a trunk with a bulbous stomach. The lower part cylinder is decorated with the finest stratiation called chevron, providing a mass to balance the shape of the head with the remaining of the body. The legs are extremely short and wide open, and seems to represent the legs of a native stool, that could barely support the sculpture. A piece of wood of the same circumference would have to be carved aside to support the entire structure.

The Ekpu hold two staffs in the shape of corns.

Made of 100% Wood.

Model is H 102 – W 21.5 and weight 6.7 kg.

Bo Usu Bush SpiritsBaule, Ivory Coast Seated Baule kings playing representing the ‘bush spirit’ (known as ‘Asie usu’ or ‘Bo usu’). Asie usu’ and ‘Bo usu’ always have a noticeable, encrusted patina from repeated offerings. They are never smooth and ‘clean’. The ‘bush spirit figures frequently received sacrificial offerings in order to appease the spirit.

With a beautiful Baule face and stylistically correct ears. The men portray long beard and scarification marks typical of this tribe.

These bush spirit figures were mainly used by the ‘trance priests’ of the Baule people as ‘helpers’ during oracles, and were kept hidden in the houses of the priests. They could also be of assistance to private individuals in solving problems, or they could increase the success of the hunt for hunters (in which case they are known as ‘Bo usu’).

Made of 100% Wood.

Model is H 47 – W 38 and weight 3.8 kg

Dogon Grieving Figure - Mali This Dogon female figure with its arms covering its face are often placed on family ancestral altars (vageu), and it is possible that some may express the idea of mourning for the deceased relative through the gesture of covering the face or the figure hides its face because she is ashamed. It has been suggested that kneeling female figures may similarly convey the family’s grief. Since interpretations of this gesture based on Dogon myth have proved to be problematic, a more accurate meaning may perhaps be found by examining the gestures of everyday and ritual life among the Dogon. Little is known of the ritual context of figures performing this gesture.

Dogon Helmet - Mali The vintage helmet mask with superstructures decorated with cowries originates from the Dogon Ethnic group in Mali. The piece is carved from heavy, dense wood. It is believed this mask is used for ancestral rites.

Made of 100% Wood pigment.

Model W 23 H 33.5 and weight 2.5kg

Dogon Female Figure – Mali This extremely detailed and well-rendered sculpture in the strict, clear, angular abstracted ‘bombou-toro-style’ and with scarification was commonly used as shrine figures, in order to ensure births and prosperity to the village. The style figure depicts the ideals of beauty, fertility. They were often objects of petitions or prayers for fertility and successful births.

Made of 100% Wood.

Model is W 24 – H 87 and weight 11 kg.

Senufo Seated Monkey Mali This old abstract monkey figure is carved in the most simplistic way, and depict the dogon style.

This monkey shaped figure stands crouched with slightly curled hands. There are signs of age throughout including repaired cracks which are in keeping with its age. Original encrusted patina and pigment.

Made of 100% Wood.

Model is W 52 - H 92 and weight 3.3 kg

Senufo Rythm Pounder - Ivory Coast This beautiful handcarved anthropomorphic figure is called Senufo Rhythm Pounder. It originates from the Senufo people of Ivory Coast, Mali, and Burkina Faso. The figure was once a benevolent symbol of fertility and a conduit to the departed, but also a crucial prop in both commemorative ancestral rites and in initiations of adolescents to adult society. It has preserved its authenticity, surface, and aged patina.

The wood carving is exquisite and exaggerated features, have all of the hallmarks of the Senufo people.

Made of 100% Wood.

Model is W 24 – H 108.5 and weight 6 kg.

Bamana Female Figure - Mali

Bamana Female Figure – Mali A female figure called “nyeleni” (small, pretty girl) originating from the Bambara of Mali. They are considered to be extremely beautiful. They illustrate ideals of physical beauty and ideals of character and action and maternity. Figures such as this therefore are used in other rituals to embody the spirit of the ancestor of a clan, and are believed to impart wisdom to the eldest male member of the gwa.The figures are brought out of the shrine to appear in annual public ceremonies. It has evoked stature, great dignity, and hieratic.

Made of 100% Wood.

Model is W 22 – H 74.5 and weight 3 kg.

Bangwa Queen Cameroon 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.” 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.

Made of 100% Wood.

Model is H 66 - W 25 and weight 4 kg.

Dogon Tellem - Mali This ancestral figure with a child on its shoulders are in the corpus of Tellem statuary and is very rare. accordingly – the lineage of the ancestors, symbolizing the sequence of generations. Stylistically, the statue is a very good example of the transition period TellemDogon ( xv e – xvi th centuries), that is to say following the onset of strain Mande migrants.

It combines, on the one hand, the classical characteristics of the Tellem statuary (back of the upper figure, prominent eyes and mouth) and on the other hand the treatment of distinctly individual volumes of pelvis and legs, specific to art that the Dogon sculptors will develop in this southern region of the cliff of Bandiagara.

Made of 100% Wood.

Model is H 134 – W 19 and weight 8 kg.

Bamana Female Figure – Mali A female figure called “nyeleni” (small, pretty girl) originating from the Bambara of Mali. They are considered to be extremely beautiful. They illustrate ideals of physical beauty and ideals of character and action and maternity. Figures such as this therefore are used in other rituals to embody the spirit of the ancestor of a clan, and are believed to impart wisdom to the eldest male member of the gwa.The figures are brought out of the shrine to appear in annual public ceremonies. It has evoked stature, great dignity, and hieratic.

Made of 100% Wood.

Model is W 22 – H 74.5 and weight 3 kg.

Bamana Horserider - Mali Bamana horserider figure with elaborately carved details including the helmet atop the riders head. The rider has very narrow, triangular facial features and uniquely short arms in respect to the rest of the proportions. The horse and rider share similar details including elongated necks and an overall narrow form. Bamana and Dogon equestrian figures reflect the prestige and power surrounding horses and thus their riders. Horses in the Bamana culture, and elsewhere, are associated with royalty, masculinity and warriors.The owner of a horse was not only rich but also worldly, for horses were the best means of movement, long-distance communication, trade and warfare.

Made of 100% Dense wood.

Model is H 136 – W 30 and weight 1.8 kg.

Fang Byeri Medecine Pot - Gabon

Fang Byeri Medecine Pot - Gabon This is a superb and rare Southern Fang medecine pot with a cylindrical hollowed bark box. The containers known as Nsekh Byeri are made of either bark or woven basketry with varied hard encrusted patina, and surmounted by a sculpted figure known as eyema-obyeri. Often, the Byeri reliquary held the bones of ancestors and were venerated through annual ceremonies at which they were present in the form of the sculptures. The container would also become a repository for magical devices.

Made of 100% Wood, pigment.

Model is H 55 - W 15.5 and weight 1.7 kg.

Keaka (Kaka) Cameroon This extremely rare figure is a paternity sculpture of the Kaka, probably depicting an important ancestors. With a hairstyle consisting of a crest and lateral grooves, with round ears, an open mouth and a long goatee. In typical Kaka proportions: without neck and compact, with long torso and arms bent forward. The legs are extremely short, the feet large. A characteristic feature of old Kaka figure is their thick, encrusted patina consisting of soot and clay. Made of hard, light-coloured wood. The Kaka are a small ethnic group in northwestern Cameroon. They are neighbours of the Mambila, who live beyond the border in Nigeria.

Made of 100% Wood.

Model is H 90 – W 18 and weight 2 kg.

Dan Guere Janus - Liberia Stylized janus headed figures were mainly produce to deal with virtually every element in Dan society, including education, competition, war, peace, social regulation, and of course, entertainment. They were used during their notorious entertainment festivals, which were village ceremonies, but are today performed largely for important visitors. Dan sculptures are the real treasures of African art tradition, ranging in their expressive powers from gentle tenderness to fierce aggression.

Made of 100% Wood, pigment, cotton clothes, cowrie shells.

Model is H 103 - W 24 and weight 4.9 kg.

Songye Power Figure Congo This large Songye male power figure originate from D.R. of Congo. Large-scale power figures such as this example were central to the life of Songye communities and were kept in a special enclosure positioned in a highly visible location, such as the center of the village or near the chief’s house. It was cared for by a guardian who also served as an interpreter for the nkishi whose messages were received through dreams or spirit possession.They function on behalf of complete communities, and occasionally where their powers are widely extolled - they may serve a more extensive constituency.

Made of 100% Wood.

Model is W 16.5 – H 164 and weight 1.5 kg.

Dogon Kananga - Mali Authentic carved Kananga 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 ritual’ goal is to ensure the safe passage of the spirits of the deceased to the world of the ancestors.

Made of 100% Wood, pigment.

Model is H 107.5 – W 49.5 and weight 5kg.

Majestic Dan -Liberia This beautifully carved figure is a key example of an Igbo sculptural genre called Ikenga. It depicts a a male warrior in a seated position on a one-legged stool, holding a cutlass in one hand and a tool. The figure wears an elaborate headdress comprised of two curving, interconnected horn-like extensions, with three projecting cone shapes on either side of the face. The horns, perhaps those of a ram, underline the rank or chief status of the image.

The figure's forehead and temples are graced with parallel incisions imitating local scarification patterns known as ichi. The ichi scars signal that the sculpture represents a high-ranking member of one of the many Igbo male associations. The white color around the eyes, derived from chalk, signifies purity and protection, and refers to the benevolence of the spirits.

Made of 100% Wood.

Model is H 82 - W 32 and weight 16 kg.Bamana Horserider - Mali

Fang - Cameroon 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. Mask such as this were worn by members of a male society of the same name during the initiation of new members and the persecution of wrongdoers. As well by itinerant troubadours and for hunting and punishing sorcerers. Apparently it has been linked with the dead and ancestors, since white is their color.

Made of 100% Wood, pigments.

Model is H 42 - W 21.6 and weight 1.4 kg.

This superb statue called "Guardian Byeri" is typical of the Fang ethnic group and participates in the very important ancestor worship which joins intimately the world of the living to the dead. The Fang considered the guardians of the relics as both children and mature men. Thus, the great majority of sculptures have infantile or childish features, a voluminous head and a stocky appearance, swollen belly, the umbilical hernia.The Statues were not concealed, they were solicited and solemn as intermediaries between the alive and the ancestors.

To enter into a relationship with the ancestors, to obtain their support, the initiated had to request the favors of the intermediary; this with the aim of realizing any important company.

Grebo War Helmet - RCI This beautiful and finely felt dance mask is called “muyombo� or Mbuya, with almost completely preserved curtains and remains of bright pigment, is considered one of the oldest of the Pende people of DR Congo. Mask such as these were worn on top of the head like a baseball cap so it may be viewed in profile.

Made of 100% Wood, red pigments.

Model is W 53- H 22 and weight 0.9 kg.

Grebo War Mask - RCI

Grebo Helmet - Ivory Coast Hand-carved Grebo Mask made of dense wood and pigment belonging to the Kroo group and is nicknamed Nyabwa. The exaggerated, protruding lips & open mouth give the mask a somewhat aggressive presence. A large, broad nose is set between dramatically raised cheekbones. Nearly obscured by the massive high-domed brow, the narrowly slit eyes lend a covert spirit to the piece.

The Grebo ethnic group in Ivory Coast uses these masks to prepare spiritually for war.

Made of 100% Dense wood and pigment.

Model is H 16 – W 13 and Weight 1.7 kg.

This boat-puppet of the Sogo bò – theater originates from the Bambara / Bozo-Peoples, Mali.

The figures dressed in original attire have movable limbs which can be moved by means of a simple cable pull. The boat has small fastening holes on the underside which makes it possible to mount on a large costume. From here the threads of the marionettes are also hidden. The Sogo bò Marionette theater is still widely used in the Bamana and Bozo tribes and has an entertaining character.

Bozzo Sogobo Boat Puppet - Mali

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...

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Ogoni Elu Mask - Nigeri

Bete Shrine Figure – Ivory Coast

Bete Shrine Figure – Ivory Coast

Bete Shrine Figure – Ivory Coast This piece with tubular, scarification markings on the neck and torso, and muscular features, is a classic Bete. The Bete have long been admired for their shrine figures, which were historically used to maintain harmony and balance between the ancestors, the otherworldly and worldly spirits, and the Bete people.

The origin of the ethnonym of the Bété people remains unknown. They constitute at the same time the most important population of the world Krou de Côte-d’Ivoire and that occupie Made of 100% Wood.

Model is W 27– H 170 and weight 18 kg.

Luba Caryartid Stool DRC The finely crafted stool called Caryartid from the tribe of Luba (Republic of Congo) is a sacred insignia preserved within a king's palace. The incorporation of a female caryatid showcases an expression of Luba conception of the female body as a spiritual receptacle that supports divine kingship.

Made of 100% Wood.

Model W 6.2 - H 28.5 and weight 0.94kg

This authentic piece is called “Mbangu� (sickness mask) and originates from the Pende people of DR Congo. The Mbuya or village mask is characterized by a somber, gloomy expression such as this one, and represent human types, such as the chief, the diviner, the epileptic with a twisted mouth, the madman or man in a trance, the widow, the lover, or the executioner. The face has a 2 coloured palette that is finished off with darker details and a dark headdress which, together with the traces of wear and tear give the mask its wonderful appearance.

Made of 100% Wood, aged surface with black pigment and kaolin..

The present Ogoni mask is carved of light-coloured wood with linear relief in black pigment, as a hairstyle. The eyes are simply slits. The actual face part is white (by means of kaolin clay), and displays heavy colour scuffing through the obviously long use of the mask. Ogoni mask dances serve a great variety of functions, which, depending on the region, can extend from pure entertainment to participation in funeral services and harvest festivals, all the way to the implementation of judicial verdicts.

Makonde Lipico Helmet Mask, Mozambique

Makonde Lipico Helmet Mask, Mozambique The most important carving used in initiation ceremonies was the lipiko (or mapiko) mask, which was worn over the top of the head, tilted back so the wearer could look out through the mouth. The Makonde “Lipiko” Helmet mask comes from Southern Tanzania and Northeast Mozambique. The Lipico helmet masks are worn on the top of the head and cover only part of the face. The lipiko masks, which in the language of the Makonde people means “helmet mask, represent ancestral spirits, sometimes animals. The naturalism is exaggerated in many masks, with their full lips and receding cranium, and portray particular individuals or occasionally represent sickness. Design elements frequently include scarification marks, and eyebrows, lashes and coiffure made of real hair affixed with wax. The helmet masks have strong, Negroid features.

Made of 100% Wood, pigment.

Model is W 18 – H 31 and weight 13.5 kg.

Nkisi Yombe Phemba – Congo

Nkisi Yombe Phemba – Congo This rare and beautiful seated maternity figure, with a child on her lap has a beautiful and shiny brown patina, originates from the Kongo peoples, Yombe group – Democratic Republic of the Congo. The motherly figure, celebrating the creation of “mother and child figure is called Nkisi (means holy), and is an icon of Kongo art. It is not a simple genre theme, but a statement of the spiritual power supporting society, the need for fertility and the promise of future generations. The figures were used to ward off danger to mothers during delivery and to protect the health of the child. The commemorative statues were also known as phemba and designed for women who had lost a child and wanted another. These carvings, generally sophisticated and very graceful, were thought to favor such a happy event.

Made of 100% Wood.

Model is W 22.5 – H 52 and weight 13.5 kg.

Veranda Post Equestrian - Nigeria This monumental work was one of a series of carved architectural supports designed for the exterior courtyard of a Yoruba palace.

It is called veranda post, and attributed to Olowe of Ise, one of the most celebrated Yoruba sculptors of the past century.

Admired as an innovator in both Yoruba tradition and the West, Olowe produced works that embrace classic forms and dynamic compositions that convey the illusion of movement. The composition and hierarchical scale of this outstanding sculpture provide insight into Yoruba ideas about status and martial conquest achieved through physical might.

Made of 100% Wood.

Model is W 25 – H 141 and weight 14 kg.

Dogon Staff - Mali This vintage cane is carved to the highest of quality and originates from the Dogon tribe of Mali. A beautiful handmade walking stick carved out of thorn tree wood, looped for easy handling and the shaft has been carved with wonderful African patterns. The Dogon tribe is famous for their small cast figures and objects, which despite their small size, express status, prestige, and power such as this hand-carved walking sticks.

Made of 100% Wood.

Model is H 69 – W 3 and weight 0.1 kg.

Dogon House Post - Mali

Dogon House Post Mali The central square of traditional Dogon villages was a place where meetings and celebrations were held. There used to be a kind of open building, called toguna, supported by wooden pillars – such as this one – that were carved in the center with representations of a Nommo figure. The building was used for meetings of family elders who alongside the chief of the village formed the Council of Elders, which used to gather for discussions and for the purpose of solving everyday problems that occurred within the community.

Made of 100% Wood.

Model is W 33 – H 96 and weight 22 kg.

Luba Medecine Pot - D.R. Congo Carved out of a single piece of wood, this magnificent sculpture depicting a seated ancestral woman holding a pot was used to store herbal medicine to cure illness. The Luba medecine pot was also used in the context of divinatory rites; the feminine figure were seen as spouses of the male figure ( on the lid ) representing the spirits that possessed the diviner, and to whom were attributed curative powers.

Made of 100% Wood.

Model is W 22 – H 41 and weight 2.5 kg.

Kneeling Yoruba Figure with bowl – Nigeria

Kneeling Yoruba Figure with bowl – Nigeria This figure known as "Olumeye", meaning "one who knows respect", represents a female kneeling figure holding a bowl, as for an offering. The kneeling position is a gesture of respect, devotion, and submission. Her facial features are very expressive and are carved with naturalistic details such as large scarification on cheeks and forehead. The finial single-crested hairstyle known as irun agogo, adds to the figure’s beauty. The figure, a recent bride or a priestess, depicts an homage to maternity or motherhood and was used as a shrine to deities Shango or Eshu in the Yoruba religion. The piece has a shine and rich patina. The bowl was used to serve cola nuts to elite guests.

Made of 100% Wood.

Model is W 22 - H 79 and weight 6 kg.

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Igbo Mask - Nigeria The Igbo use thousands of masks, which incarnate unspecified spirits of the dead, forming a vast community of souls. With their masks, the Igbo oppose beauty to bestiality, the feminine to the masculine, black to white. The masks, of wood or fabric, are employed in a variety of dramas: from sacred rituals (for ancestors and invocation of the gods), to initiation and second burials.

Made of 100% Wood, pigment.

Model is W 19 – H 42 and weight 1.13 kg.

Igbo Male Ikenga Figure – Nigeria This beautifully carved figure is a key example of an Igbo sculptural genre called Ikenga. It depicts a a male warrior in a seated position on a one-legged stool, holding a cutlass in one hand and a tool. The figure wears an elaborate headdress comprised of two curving, interconnected horn-like extensions, with three projecting cone shapes on either side of the face. The horns, perhaps those of a ram, underline the rank or chief status of the image.

The figure's forehead and temples are graced with parallel incisions imitating local scarification patterns known as ichi. The ichi scars signal that the sculpture represents a high-ranking member of one of the many Igbo male associations. The white color around the eyes, derived from chalk, signifies purity and protection, and refers to the benevolence of the spirits.

Made of 100% Wood.

Model is H 82 - W 32 and weight 16 kg.

Yoruba Gelede Helmet - Nigeria Carved from a single piece, this helmet or pull-on mask of the ‘Gelede cult’ made of hard brown wood comes from the Yoruba tribe of Nigeria. The face is covered with red pigment, the mouth black, with the typical tribal scarification marks on the forehead and cheeks, as well as the elaborate carved hairstyle. The Gelede is named after Yemoja’s chubby daughter, and the dance therefore has a close connection with fertility rites. Nonetheless, the Gelede ceremony performs diverse functions in Yoruba society, including to pray for rain, purify the village of disease, to enlist spiritual help in wartime, and to honor the dead.

Made of 100% Wood, pigment.

Model is W 22 – H 23 and weight 1.5 kg.

Ibo (or Igbo) Helmet - Nigeria The north-central Igbo region in Nigeria has one of the most complex and diverse mask making traditions in Nigeria. These Impressive helmet masks were used during the Egu cult ceremonies. During which the spirits of ancestors were invoked. The present, stunningly well-preserved old specimen is made of light-coloured, lightweight wood. The mask features two typical and well-carved Ibo faces opposite each other, with only small differences (the forms of the scarification marks). Both faces are coloured in white by means of kaolin, the rest, including all details, is black. The hairstyle displays circular patterns and grooves in relief, which also occur in other types of Ibo masks.

Made of 100% Wood, kaolin.

Model is W 22 – H 41 and weight 2.5 kg.

Mende Helmet Sierra Leone This Mende helmet mask is called called a ‘Sowei mask’ and used among the Mende people by the women’s society ‘Sande’ or ‘Bundu’ of Sierra Leone. The mask presents an ideal of feminine beauty admired by the Mende: elaborate hairstyle, full forehead and small facial features. The gleaming surface signifies healthy, glowing skin.

The swelling fleshy rolls alternating with deep incised lines at the neck or back of the head are considered marks of beauty and a promise of fecundity. The neck is broad to fit over the head of the woman who will wear it.

Helmet masks are carved with symbolic features that endow wearers with spiritual power.

The women of the ‘Sande or Bundu’ dance with these helmet masks on their heads along with full body costumes in processions with their young initiates.

Made of 100% Wood.

Model is W 29 – H 45 and weight 4.8 kg.

Baule Kpan Mask – Ivory Coast Beautifully carved ancestral Baule portrait originating from Ivory Coast. These refined red pigmented 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 as stylistically diverse.

Made of 100% Wood, pigment.

Model is W 20 – H 42 and weight 0.6 kg.

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This mask with a superstructure of a bulu (monke) is carved from heavy, dense wood, and originates from the Dogon peoples of Mali. The nommo figure symbolizes ancestral spirits from a crown atop the mask.The mask depict a Nommo abstracted face, a classic from the Dogon. A traditional shape used by the Dogon in much of their carvings.

It’s a ceremony mask used during the annual harvest festival (called Bulu), celebrated in all the villages before the rainy season.

Made of 100% Wood.

Model is W 20.5 – H 53 and weight 1.3 kg.

Imposing Koro horserider from the Bwa people of Burkina Faso, with the typical style of this ethnic group. Among the Senufo, these figurines are named Syonfolo (master of the horse) or Fanhafolo (the one who possesses the power). The rider is considered the symbol par excellence of the geniuses of the bush. This sculpture is stunning and portray concentric striations throughout, zoomorphic featues, sitting on horse in a pride way.

Imposing Koro horserider from the Bwa people of Burkina Faso, with the typical style of this ethnic group. Among the Senufo, these figurines are named Syonfolo (master of the horse) or Fanhafolo (the one who possesses the power). The rider is considered the symbol par excellence of the geniuses of the bush. This sculpture is stunning and portray concentric striations throughout, zoomorphic featues, sitting on horse in a pride way.

Dogon Ancestral Royal Figure - Mali The Ntomo (also called N’domo) Bamana mask originate from Mali. They were worn by boys as they passed through the early cycle of initiation into manhood. As part of the six initiation societies collectively known as Dyow, the main aim of the initial 5-year long N’tomo Dyo is to prepare uncircumcised boys for adulthood and to educate them about life including farming skills and discipline. The masqueraders wearing the masks, enter the village compound to announce the start of a ritual or a puppet masquerade.

During their time in ntomo the boys learn to accept discipline. They do not yet have access to the secret knowledge related to kore and other initiation societies.

Members wore a wooden face mask during the initiation festival at harvest time and when begging for rice.

Made of 100% Wood, pigment, seeds, latex, metal.

Model is W 25 – H 68 and weight 1.95 kg

Kono Bamana Helmet - Mali This zoomorphic mask – actually a dance crest, since it is worn horizontally on the head – belongs to the ‘Kono’.

It is used in initiation rituals granting access to the fourth, or ‘kono’, rank. Kono are commonly polymorphous mask made of different animal features and a”totemic” animal of the most important society, that of Korah. Kono is a spirit in control of wild beasts and mythical bush spirits. It is a dangerous, omnipotent force that resolves conflicts, keeps social order and must be placated through ritual and performance. The deep crust of sacrificial patina, coated with a fine layer of black powder consisting of burnt plants and magical substances, gives testament to the spiritual power with which masks of this type have been vested.

Made of 100% Wood.

Model is W 18.5 – H 59 and weight 3 kg..

Boli Minianka – Mali This Boli Fetish figure originates from the Bamana People in Mali, West Africa. It was used by initiates of the Komo Society, some of whom are experts in the creation and use of magical fetishes associations to help accomplish specific goals delineated by priests, elders and members. The objects themselves harbor huge quantities of energy called nyama, and are activated by association priests once the specific task is articulated. Only initiated and trained professionals are capable of activating these instruments.These figures are assembled from diverse organic materials over a wooden core. They are thought to symbolize the universe and to harness spiritual power.

Made of 100% Wood.

Model is H 57 – W 83 and weight 23 kg.

Ngi Bulu Monkey Cameroon Called Ngi by the Bulu (Boulou) that form part of the Fang group and live not far from Kwele, with whom they share cultural similarities, the simian of equatorial forests of West Africa is a fearful animal.

The Cameroon gorilla effigies of the Bulu, are among the most prized objects in African art. This piece is rare and unusual, and very realistic with a zoomorphic facial expression. The effigies have general protective uses against all forest spirits. The surface shows an excellent, smooth surface patina due to Rituals and Sacrifice.

Made of 100% Wood, pigment.

Model is W 25 - H 73 and weight 4 kg.

Chamba Figure – Nigeria This geometric sculptural form of the most beautiful effect originates from the chamba tribe, middle Benue River Valley of Nigeria, and is distinguished by its overall elegant proportions. It is stylistically compared to their Mumuye and Jukun neighbors. This figure is not very common and their role is little known but it has been reported that figures such as this are used in a cult activity known as Jup that is mainly dominated by men or in the case of women, Jem. Made of 100% Wood.

Model is W 12 – H 61 and weight 2 kg.

Mbuya Pende - RDC This beautiful and finely felt dance mask is called “muyombo� or Mbuya, with almost completely preserved curtains and remains of bright pigment, is considered one of the oldest of the Pende people of DR Congo. Mask such as these were worn on top of the head like a baseball cap so it may be viewed in profile.

Made of 100% Wood, red pigments.

Model is W 53- H 22 and weight 0.9 kg.

Lulua Initiation Spirit Mask – DRC This mask originates from the Lulua, a province of West Kasai in the south central DRC. The Lulua masks representing the spirits of the dead are used by masqueraders who perform during circumcision rites in initiation ceremonies.

Lulua art is very personal and has very little relation to neighboring styles, in particular the Kuba.

Made of 100% Wood, pigments.

Model is H 35.5 - W 22 and weight 1.4 kg.

Djenne Terracotta Vessel - Mali Made of 100% clay Model is W 56 – H 132 and weight 6.8 kg.

Djenne terracotta vessel originating from the Djenne-Djenno also known as Jenne-Jeno or Djenne tribe. The terracotta vessels come in different sizes and do not stand on their own on a perfectly flat surface, and were made to stand on uneven earth / ground.

These vessels may have been receptacles for offerings or simply used as a household item for water or medecine.

Unique in their simplicity and embellishment, these everyday useful objects often went unnoticed by most collectors, who have been slow to fully explore and appreciate their symbolic and significant role in Africa’s artistic heritage.

Djenne Terracotta Vessel - Mali Made of 100% clay Model is W 56 – H 143 and weight 7.8 kg.

THE ARTISTIC RICHNESS OF AFRICA COLLECTIONÂ HIGHLIGHTS 2018

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