CooperEvans-FineArt
1. Mende Mask ‘Ndoli Jowei’
Sierra Leone
Late 19th/Early 20th Century
Wood, Pigments
H: 40cm
Provenance:
Ex. Bonhams
Ex. Dennis Widman, San Jose
Mende masks are among the most iconic works of African art, both for their unique aesthetics and the fact they are some of the only masks in sub-Saharan Africa worn by women. According to legend, the primordial example was found deep in the jungle and brought back to a village to be copied and used as a ritual conduit within all-women's secret societies. The helmet form envelops the dancers head entirely, and a fiber and cloth costume would have been attached to obscure and conceal the human features of the dancer. When worn, the ‘Ndoli Jowei’ becomes the physical manifestation of wild natural spirits. Each mask has a name, being individual to the personality of the spirit it represents. These personalities can range from serene and regal to eccentric and unpredictable. The features of the mask are carved to accentuate the most important aesthetic components of Mende beauty. The fat rolls on the neck represent the health of the women portrayed, and the small face with a happy expression and closed conveys the peace and knowledge of the depicted subject. Scarification accentuates the cheeks, and an elaborate coiffure frames the face. A multiplicity of horns conveys both a sense of power and function, with the large central horn perhaps representing a musical instrument and the smaller horns representing medicinal containers made of Duiker horn sheaths.
Lobi Figure ‘Bateba’
Burkina Faso
Late 19th/Early 20th Century
Wood, Encrusted Patina
H: 15.5cm
Provenance:
Ex. Dr. Walter Wallace, Princeton
Wooden carvings called ‘Bateba’ are thought to house powerful spirits called ‘Thil’. These spirits are used chiefly to protect a household, with every home containing a shrine to the ‘Thil’. This small figure stands on an integral circular base with muscular legs slightly bent to support the naturalistic torso. A large, round belly suggests health and prosperity, accentuated with beautiful traditional scarification. The hands are both raised to the chin, and head cast slightly to the right. The pleasant, introspective expression of the face is accentuated by a deeply encrusted patina; such a patina is certainly the result of decades of use, and testifies the great personal power the figure once held.
3. Makonde or Mwera Mask
Tanzania or Mozambique
19th Century
Wood, Wax, Pigments, Traces of Human Hair
H: 21cm
Provenance:
A Stuttgart, Germany private collection
This extremely rare mask comes from an enigmatic subtype of Makonde or Mwera masks made during the 19th century, with almost all extant examples being collected and deposited in German museums before 1910. While similar to ‘Ndimu’ or ‘Likomba’ masks, the lack of lip plug and addition of fiber beards differentiate this type. These abstracted face masks are notable for their rather petite stature and highly abstracted form compared to most masks of the region. Nearly all are accentuated with woven beards, attached strips of fur, or human hair adhesed with wax. The delicately carved face is framed by two protruding ears pierced, in this case multiple times. There are remains of wax on both the chin and forehead, probably once securing fur or fiber attachments as seen in the comparable examples pictured. The eyes also feature remains of human hair secured with wax to suggest eyelashes, a rather unique feature to this type of mask. Incised scarification flanks the eyes and are adorned with traces of blue pigment.
similar masks, all deposited into the Ethnologisches Museum, Berlin before 1910
4. Kongo Colonial Figure
Democratic Republic of the Congo
Late 19th Century
Wood, Pigments
H: 25.5cm
Provenance:
Ex. Marc Leo Felix, Belgium
Ex. Pierre Loos, Belgium
Ex. Robert van der Heijden, Amsterdam
The Kongo kingdom, which ruled the delta of the Congo river from roughly 1400 to 1914, was one of the first ethnic groups contacted by Europeans, particularly Portugal and then later Belgium. This early contact with western forces quickly influenced the art of the Kongo, resulting in many early carved figures representing non-African figures. The present example depicts a figure with pale skin and fancy European dress, with a carved collar and painted accents. Behind the figure is what appears to be the backrest of a European chair, further suggesting this work represents someone of Western origin and high status. Bright pigments and mostly unblemished surface suggest that the figure had no ritual significance, but rather was made during the 19th century for someone who traveled the region. Whether a portrait commissioned by a traveler or generalized depiction, this work is certainly very interesting for any collectors who appreciate the art made in the transitional, transactional period during initial contact with the West.
5. Miniature Figure ‘Nkisi’
Democratic Republic of the Congo
Late 19th/Early 20th Century
Wood
H: 8.5cm
Provenance:
Ex. Mark Isaacson
Ex. Greg Nacozy
Miniature statues are made all around Africa, but nowhere produced quite the quantity and variety as the Congo. The Songye - like many groups of the region - produce these fetish figures in a range of sizes, from tiny handheld idols to meter-tall community guardians. This tiny example is no larger than a cigarette lighter, and is rather unique among Songye miniatures of such small size for having both arms and legs defined rather than integrated trunctually. ‘Nkisi’ figures of this size were likely used by a diviner as part of a set or attached to a larger figure to enhance its power. The example here depicts an androgynous figure with hands clasped to the belly and legs slightly crouching, supported by large feet overlapping a circular base.
Bamana Mask ‘Ntomo’
Mali
Late 19th Wood
H: 57cm
Provenance:
Ex. Hubert Goldet, Paris
Ex. Alain de Monbrison, Paris
Ex. Rosa and Aaron Esman, New York, acquired 1984 from above.
Here is an important, rare, and old Bamana mask from the collection of Rosa and Aaron Esman. During their over seventy-year marriage, they amassed an extremely important collection of Modern, Post-War, Contemporary, African, and Pre-Columbian art. Being personal friends of Frank Stella, Herbert Ferber, Roy Lichtenstein, Jasper Johns, Helen Frankenthaler, and Arman among others, they were well-acquainted with the modern art world of the time as well as the incredible influence of non-western arts on the art of the 20th century. Indeed, surreal inventions like this mask surmounted by a figure which is flanked by horns is just the type of art which most excited early collectors, with two important Bamana masks of this type notably being featured in the Barnes Foundation public collection. In general ‘Ntomo’ masks are associated with an eponymous society reserved for boys who have yet to reach adulthood. They are accompanied by cloth costumes and are danced during various private initiatory ceremonies attended only by boys. Masks featuring female figures are rare among ‘Ntomo’ and represent the femininity essential to manhood, as well as the idealized woman which Bamana men wish to marry. This example bears a human face framed by large ears, with exaggerated nose and overhanging brow concealing small eyes and understated mouth. The dark black surface is adorned with prominent scarification, both mask and figure. A classical Jonyeli statuette stands next to two pairs of horns, with metal eyes added by the artist to draw the spectators attention during performance.
Punu Mask ‘Mukudj’
Gabon
Early 20th Century
Woo, Pigments
H: 26cm
Provenance:
Ex. Sam Handbury-Madin, United Kingdom
This mask is a fine and old example of Gabonese initiatory arts associated with all-men's secret societies called ‘Okuyi’. During ‘Okuyi’ rites, boys are initiated into manhood and taught the associated lessons during a several-month period, after which a series of elaborate celebrations would take place. These celebrations prominently feature amazing acrobatic feats performed by stilt-wearing ‘Mukudj’ masqueraders. The petite face of this mask depicts an idealized and beautiful woman from the village of origin, with traditional facial markings accentuated by vibrant red paint.
Wurkun Figure ‘Kundul’
Benue Region, Nigeria
Late 19th Century Wood
H: 75cm
Provenance:
Ex. Unter Family Collection, Acquired 1970’s
Ex. Bruce Frank, New York
Wurkun statues from the Benue region of Nigeria are mysterious, powerful, and extremely unique in their artistic composition. These trunctual figures are normally carved in pairs, with the male having a central crest representing a men's dance headdress. They are typically made by blacksmiths on request by families seeking advice from diviners. ‘Kundul’ are most often associated with healing rituals, but may also be used for protection against spirits. The statues would be kept for long periods of time, receiving annual offerings after harvests. The lustrous black patina results from the figure being covered in sacrifices and then washed, after which they are polished with oil. This process is repeated annually and over time results in a beautiful, dark patina. The present example is most notable for its exceptional size, being of much taller height than the average figure from this region.
9. Mende Mask ‘Gongoli’
Sierra Leone
Late 19th Century
Wood, Pigments, Fibers
H: 40cm
Provenance:
Private California Collection
This large and beastly mask is known as Mende as ‘Gongoli’, and was performed exclusively for satirical purposes. The grotesque, exaggerated features are paired with a comedic performance to captivate and entertain audiences on various festive occasions. While having no relation to medicine or spiritual authority, these masks have become well-loved and iconic in Sierra Leone due to their distinct impact and uniquely secular nature.
10. Paiwan Spoon with Antlers
Taiwan
(Formerly Formosa)
Late 19th/Early 20th Century
Wood
H: 26cm
Provenance:
Ex. Joel Green, San Francisco
The Paiwan are an indigenous group living in modern-day Taiwan, but formerly known as Formosa. Their spoons are reminiscent of Ifugao spoons, but feature more primitive designs. This example features a highly abstracted human head atop a classically shaped Paiwan spoon. The head is unique for featuring a pair of antlers.
