Tribal Art Auction - 12th/13th June 2018

Lot 58 Mother and child sculpture Mabea, Cameroon, 1920’s-1930’s 82cm

Standing Fang Mabea Maternity of Museum quality, holding a pestle with both her hands. The mother’s head is slightly turned to the left, while the child, which she carries on her back, has his head turned to the right. Her left leg indicates a walking movement, which is not frequent for African sculptures. The eyes are inlaid with glass, the mouth has fine metal teeth and her hair dress, in leather, is fixed with indigenous little nails. The statue has a brown patina typical for the region. The statue dates from the beginning of the 20th century and is supposed to be made for a Colonial Exhibition in France.

Provenance: R. Caillois (1913-1978), writer, sociologist and member of the “Académie Française” initially owned the Sculpture. He was in contact with Andre Breton in the 1930s and befriended Salvador Dali, Paul Eluard and Max Ernst. He breaks with the Surrealist movement in 1935 and starts the magazine ‘Inquisitions’ with Tzara and Aragon. After his death the sculpture stays in the family. P.Ratton certifies the sculpture, owned by the widow (second wife) of R.Caillois on the 27/10/1995. I dispose of the original of this certificate. Barones Josephine Sloet tot Everlo owned the sculpture until the 31/12/2014.

Certificate P.Ratton £45,000-60,000

Mother and child sculpture

Lot 59 A ritual dancer puppet, Salampasu people, DRC, 1930s

Lot 59

The Salampasu people live east of the Kasai River, on the frontier between the Democratic Republic of the Congo and Angola. The Salampasu are homogeneous people governed by territorial chiefs, who supervise village chiefs. A people with a reputation as fearless warriors, the Salampasu have retained the custom of a rough and primitive life. Warring and hunting are privileged occupations. Salampasu masks were integral part of the warriors’ society whose primary task was to protect this small enclave against invasions by outside kingdoms. Wooden masks covered or not covered with copper sheets are worn by members of the ibuku warrior association who have killed in battle. Salampasu masquerades were held in wooden enclosures decorated with anthropomorphic figures carved in relief.

The puppet is wearing a “mukinka” mask in front of the face, costume and conical headgear from plant fibre, small missing part (left foot tip). These masked dancer figures were adopted from the Chokwe.

45cm £1750-2200

Lot 60 An Initiation Mask “Ibuku “ Salampasu people, DRC 1930’s

Lot 60 An Initiation Mask "Ibuku", Salampasu people, DRC 1930s

Salampasu masks made for initiation purposes are characterized by a bulging forehead, slanted eyes, a triangular nose and a rectangular mouth displaying intimidating set of teeth. The heads are often covered with bamboo or raffia or rattan-like decorations. Presented in a progressive order to future initiates, they symbolize the three levels of the society: hunters, warriors, and the chief. Certain masks provoke such terror that women and children flee the village when they hear the mask’s name pronounced for fear they will die on the spot. Filing teeth making part of many wooden masks was part of the initiation process for both boys and girls designed to demonstrate the novices’ strength and discipline. The costume, composed of animal skins, feathers, and fibres, is as important as the mask itself. It has been sacralised, and the spirit dwells within it. Masks are still being danced as part of male circumcision ceremonies.

30cm £3500-5000

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