This impressive mask is highly mysterious in terms of origin, and is a highly remarkable piece of construction. The mask itself is fairly small, with highly polished wood  More »

This impressive mask is highly mysterious in terms of origin, and is a highly remarkable piece of construction. The mask itself is fairly small, with highly polished wood highlighted with cervid teeth and ringed eyes. The most imposing part of the mask is the superstructure, which includes a monkey skull, beads, cowries, textile and fur. The inclusion of all this “fetish” material makes it apparent that the piece comes from the former Zaire, where many tribes (notably the Kongo and the Songye) attach magical materials to masks and sculptures to endow them with authority to solve problems and to supernaturally intervene in mortal affairs. The tradition is also seen in the Bete group of the Ivory Coast. This particular mask form is essentially unique; however, the materials attached thereto make it likely to be a Kongo piece.The Kongo (or Bakongo) people live in the Democratic Republic of the Congo, Angola and the Congo. They originally lived in a series of loosely-connected yet autonomous kingdoms, followed by considerable turmoil and the arrival of the European forces at the start of the 16th century. They had a reasonably peaceful relationship with the foreigners, so their material culture has survived largely intact. Indigenous Kongo society was based around the kingship model, not unlike that of the Nigerian Kingdom of Benin. Their religious beliefs have a far wider circulation, and are based around a reverence for the dead who are believed to be able to assist in the determination of future destinies. The most notable pieces of Kongo sculpture are the Nkisi Nkondi figures – often referred to as nail fetishes – which carry a packet of magical materials known as a bilongo; the figures are insulted and “hurt” with explosions and nails so that they will carry out the wishes of their tormentor. Various other categories also exist, such as the ntadi limestone grave markers and maternity figures with characteristic open-mouths, almond- shaped eyes and detailed surface work.Kongo Wooden Mask - PF.1494 (LSO)Origin: Democratic Republic of Congo Circa: 20 th Century ADCollection: African Style: Kongo Medium: Wood, Fur, Teeth   « Less

Lega Wooden Mask - DA.719Origin: Democratic Republic of Congo Circa: 20 th Century ADDimensions: 13" (33.0cm) high Collection: African Style: Lega Medium: Wood Condition:  More »

Lega Wooden Mask - DA.719Origin: Democratic Republic of Congo Circa: 20 th Century ADDimensions: 13" (33.0cm) high Collection: African Style: Lega Medium: Wood Condition: Extra Fine   « Less

Masterfully carved from a giant block of wood, this commemorative head was created as a dedication to the ancestors of the Oba, or divine king, of Benin. Benin is a kingdom  More »

Masterfully carved from a giant block of wood, this commemorative head was created as a dedication to the ancestors of the Oba, or divine king, of Benin. Benin is a kingdom in Africa founded in the late thirteenth or early fourteenth century. It flourished under the rule of the Oba and his hierarchical court until the end of the nineteenth century when British troops invaded the city. In 1914, the Benin king was reinstated, however, and many of the ritual, political and artistic activities of the court were also resumed. The unique Benin artistry of that period is revealed in this spirited Oba head, a characteristically idealized representation of the powerful rulers. Although it is an ideal image, the wood carver has nevertheless imbued the Oba with a subtle naturalism, through the Oba’s softly modeled face, full and sensual lips, broad nose and furrowed cheeks and brow. At the same time the Oba’s electrically charged eyes enhance his authoritative presence, while a large pointed headdress elevates his exalted visage upwards toward the heavens. This commemorative Oba head clearly speaks of a people whose art forms are filled with evocative power a people whose traditions find dramatic expressionthroughthehandsoftheirgifted.-(PF.2583)Benin Style Wooden Head of an Oba-PF.2583Origin: West Africa Circa: 20 th Century ADDimensions: 22" (55.9cm) high Collection: Decorative Arts Style: Benin Medium: Wood   « Less

The region of Ife in Nigeria has become known for the naturalism of its art in comparison to the stylized art of other African regions. The area also produced terracotta  More »

The region of Ife in Nigeria has become known for the naturalism of its art in comparison to the stylized art of other African regions. The area also produced terracotta sculptures and works in ivory, clay, wood, bronze, and even in quartz. The Yoruba tribe regarded Ife as their place of origin as told in the creation myths. The craftsmanship of Ife was later passed on to the kingdom of Benin, which being closer to the sea was better known to early European travelers. The later history of Ife is not yet well documented except for the beautiful bronze busts of kings such as this one.This beautifully sculpted bronze bust of a young nobleman or king is a perfect example of the talented craftsmanship of the area of Ife in Nigeria. His facial expression is one of serenity and confidence, both in himself and in his surroundings. In both hands, he holds two objects that symbolise control and power. He also wears a crown, emphasizing his rank in society.Ife Style Bronze Bust of a Nobleman - PF.3623Origin: Southwestern Nigeria Circa: 19 th Century AD to 20 th Century ADDimensions: 22.75" (57.8cm) high x 13" (33.0cm) wide Catalogue: V19Collection: African Style: Ife Medium: Bronze   « Less

As king of a large tribal community, this man would have been highly regarded and respected among the people of his community and feared by the enemy. The bronze figure  More »

As king of a large tribal community, this man would have been highly regarded and respected among the people of his community and feared by the enemy. The bronze figure stands tall with all the necessities required by a king. The robe is wrapped carefully around his waist while his wealth is demonstrated by the large variety of jewelry which adorns his body. The elaborate headpiece however, is the crowning glory of his attire, clearly defining his role within society, alongside the two symbols of his reign which he holds in either hand.The bronze itself has been molded and pitted to exemplify the distinct characteristics of the skin while still allowing the king to look his best. The facial features have also remained true to life, with intelligent eyes and a full, expressive mouth. As a whole, the king has been represented at his very best, demonstrating his influence and his power, remaining immortal not only to the tribe but to the rest of the world as well. - (PF.4001)Ife Style Bronze Sculpture of King - PF.4001Origin: Southwestern Nigeria Circa: 19 th Century AD to 20 th Century ADDimensions: 38" (96.5cm) high x 17" (43.2cm) wide Collection: African Style: Ife Medium: Bronze   « Less

Ife was one of the numerous city-states founded by the Yoruba, who housed themselves in villages protected behind thick walls. Between 1100 - 1450 A.D. the city's prosperity  More »

Ife was one of the numerous city-states founded by the Yoruba, who housed themselves in villages protected behind thick walls. Between 1100 - 1450 A.D. the city's prosperity permitted the development of a royal court art, along with the establishment of sanctuaries and cults. The style of Ife busts is unique and very profound, beginning with terracottas and culminating in bronze, of which many are true masterpieces.It is a delight to see the beauty and grace in this handsome bust. As with others of its type, the modelling is done with such refinement it is difficult to distinguish male from female. Perhaps it is more accurate to include both elements as essential to its character and aura. Immediately we are captivated by the bust's presence; both dignified and friendly at once. The striations on the face represent ritual scarification and heighten the dramatic quality of the face. Ife headdresses are usually simple and elegant, perfectly complimenting the overall style. This particular one is like a soft cap with a crowning ornament in an arrow shape. As with other Ife sculptures this head possesses nobility and regal dignity; a legacy of the royal art of Ife and the sculptors who left behind such a noble art. - (PF.4684)Ife Style Terracotta Head - PF.4684Origin: West Africa Circa: 20th Century AD Dimensions: 14" (35.6cm) high x 6" (15.2cm) wide Collection: Decorative Arts Style: Ife Medium: Terracotta   « Less

During important ceremonies, chiefs and titleholders would wear this type of ornament on their left hip, covering the closure of their wrapped skirts. The depiction of the  More »

During important ceremonies, chiefs and titleholders would wear this type of ornament on their left hip, covering the closure of their wrapped skirts. The depiction of the Oba’s is adapted to the ovular shape of the ornament. The face of the king is typical of the Benin royal style. The large, composed eyes are represented here with holes for the pupils. The wide flat nose and lips are also typical of such images. The Oba wears a headband of coral beads across his forehead. A crown of mudfish stretches around his head from ear to ear. This fish was associated with the king for its ability to move across both land and water much like the Oba could move across both spiritual and earthly realms. This stunning carving was reserved for the highest- ranking authority to wear during specific ceremonies, perhaps it was even the Oba’s own. Surely this hip ornament is fit for a king. - (PF.5577)Benin Ivory Hip Ornament - PF.5577Origin: West Africa Circa: 20 th Century ADDimensions: 6.875" (17.5cm) high x 4" (10.2cm) wide Collection: Decorative Arts Style: Benin Medium: Ivory   « Less

Benin hip ornaments in brass or ivory adhere to certain formal stylistic details, such as seen on this handsome mask. The finely carved face is a study in composure and  More »

Benin hip ornaments in brass or ivory adhere to certain formal stylistic details, such as seen on this handsome mask. The finely carved face is a study in composure and authority befitting a chief. His headdress is composed of a pattern of concentric circles with a crenulated edge intersected by holes. A decorative flange surrounds the face in a flowing design of intertwining strands, with small holes in the center and on the sides. Beneath the chin is a series of three horizontal bands of small rectangles resembling a collar of coral beads. All these attributes are associated with hip ornaments worn by chiefs. On the forehead are two groups of four short vertical lines on either side of a central broad band representing keloid scarification known as ikharo (meaning “tribal marks”). Of particular interest is a face on the reverse created by incised lines in an abstract form with a tongue depicted in low relief. During important ceremonies chiefs and titleholders wear the ornament on the left hip covering the closure of their wrapped skirts. They are symbols of power, wealth and a testimony to the artistic skills of Benin artists. - (PF.5364)Benin Style Ivory Hip Ornament PF.5364Origin:West Africa Circa: 20 th Century ADDimensions: 8.75" (22.2cm) high x 3.75" (9.5cm) wide Collection: Decorative Arts Style: Benin Medium: Ivory   « Less

A handsome male holding an axe in his right hand stands upon a raised base, which is decorated with open circles around the center. He wears only a broad skirt ornamented  More »

A handsome male holding an axe in his right hand stands upon a raised base, which is decorated with open circles around the center. He wears only a broad skirt ornamented with different shapes in relief. A rather intricate network of necklaces crisscross over his chest, including a hanging flask attached to a thick “rope.” His right hand is raised, his torso twisted left in the direction he is staring, and his knees are bent as if he is about to move forwards. Crease lines on his forehead and his balding head suggest that he is a man of middle age, possibly a respected village elder. His ornaments and his dignified demeanor indicate he is someone of importance whose image was cast in bronze in the great tradition of Benin royal art. - (PF.5414)Benin Style Bronze Sculpture of a Man - PF.5414Origin: Southcentral Nigeria Circa: 20 th Century ADDimensions: 20.75" (52.7cm) high x 7" (17.8cm) wide Collection: African Style: Benin Medium: Bronze   « Less

Throughout history, the concept of mother and child united together has been a potent symbol; the source of works of art depicting universal images of fecundity and  More »

Throughout history, the concept of mother and child united together has been a potent symbol; the source of works of art depicting universal images of fecundity and nourishment. Kongo maternity figures, called pfemba, are among the most celebrated works of African art because of their easily recognizable theme, their classical form and their fine workmanship. Furthermore, their full meaning and roll in Kongo society has not been determined with certainty because of the wealth of traditional content of the sculpture, both historic and symbolic. Therefore, today there is doubt that the model was the virgin and child, first introduced by missionaries in the 16th Century. This sculpture helped to promote fertility, so crucial to the future of any tribe. As the mother sits cross-legged, she holds her baby carefully, in preparation for the child to suckle her breast. The figure wears a knitted bonnet, or mpu, that suggests high rank and is generally associated with a chief. The diagonal grid pattern covering her upper torso, shoulders, and back might represent either a woven shawl or else the raised patterns of decorative scarification that were considered marks of her sexuality and rank. Her face shows also great expression with her mouth held slightly ajar, revealing four teeth. With her headdress, necklace, bracelets and the infant (possibly an heir), the sculptor suggests this woman is a high-ranking member of Kongo society. Such statues were probably used by the ancestral cult. In the past, similar sculptures have been considered funeral figures. This pfemba is especially remarkable for its tremendous size. With the smoothness of the wood and the care taken in creating this expressive sculpture, we realize the importance that these pieces had on the lives of people and the care that these people took in creating and revering them. - (PF.6160)   « Less