Wood, nice patina, brass, remains of leather from old fur, convex eyes, curved cheek marks, chin with large quantity of old brass bells, powerful smiling mouth and forehead  More »

Wood, nice patina, brass, remains of leather from old fur, convex eyes, curved cheek marks, chin with large quantity of old brass bells, powerful smiling mouth and forehead scarification. The Wee, located in Liberia and Ivory Coast, use many masks to embody forest spirits, which they believe contact human beings through dreams.In these dreams the spirits demand to be physically manifested as masks, choosing either male or female forms. Wee carvers seem to have focused their skills on carving powerful masks to which objects such as bells, nails, feathers and cowries shells are added to reinforce the power of the masks. Signs of use. H: 36,8 cm (14 ½ inch). Literature: Bacquart, Jean-Baptiste (2010) The Tribal Arts of Africa. SOLD   « Less

Wood, raffia, white and coloured pigments, kaolin, oval face carved of classical form, exaggerated features, upturned nose, toothy mouth, most areas covered with white  More »

Wood, raffia, white and coloured pigments, kaolin, oval face carved of classical form, exaggerated features, upturned nose, toothy mouth, most areas covered with white pigment, superstructure with raffia ruff, and surmounted by a figure administering an enema. This type of mask, called Kholuka , is only used for circumcision and initiation rites, the nkanda. Three months before the ceremony, the carver, muumbwa, is formally invited to conceive the mask. He carves the Kholukain a field where offerings are made in honor of the ancestors (yipheesolu). The yipheesolu is strictly off limits for strangers, women, and non initiated males. After the mask is finished, the carver applies a mixture which will confer magic and protective elements to it. Pigment loss. H: 59 cm (23 inch) Literature: Bourgeois, Arthur e Rodolitz, S. (2003) Remnants of Ritual: Selections from The Gelbard Collection of African Art. Bacquart, Jean-Baptiste (2010) The Tribal Arts of Africa. FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Wood, shiny brown patina, depicted standing on a circular stool in a sign of high rank and status, the eyes inset with white miniature glass beads. “The Kaguru live  More »

Wood, shiny brown patina, depicted standing on a circular stool in a sign of high rank and status, the eyes inset with white miniature glass beads. “The Kaguru live directly west of the Luguru, and to the southwest live the Hehe. Because they lie midway between these important peoples on the coast and along the lake, and because their land lies astride the major caravan route between Lake Tanganyika and the Swahili coast, the Kaguru have benefited for centuries from a cultural mix that has influenced their own cultural traditions.” Minor damage to the base. H: 16,5 cm (6 ½ inch). FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Wood, fine patina, white kaolin, remains of pigments, cowrieshells, hammered coper, beads, fur, large bell-shaped mask, hallowed eyes with one small see slit, geometric  More »

Wood, fine patina, white kaolin, remains of pigments, cowrieshells, hammered coper, beads, fur, large bell-shaped mask, hallowed eyes with one small see slit, geometric patterns. Kuba peoples call themselves “children of Woot” in honor of their founder. Kuba art is characterized by its use of geometric patterns and cowrie shells. Three types of mask have been associated with dances that take place within the royal compound. The first, called Mwaashamboy represents Woot, founder of the Bushoong tribe. The second, known as Ngaady Amwaash, personifies Woot‘s incestuous sister-wife. The third mask, the Bwoom, represents a pygmy and is associated with Woot‘s evil brother. “This mask, Ngaady Amwaash portrays Mweel, Woot's beautiful sister and wife (alternatively, mother), and who represents women in general. The mask is striking with its strong pattern of white and black triangles painted on the face, which are said to represent hearthstones and domesticity. Lines painted down the cheeks represent tears and recall the pain of death, for royal masks often appear in funerary contexts. The tears also denote the hardship of a woman's life as a "pawn" of male authority befitting the mask's name (Ngaady aMwaash), which means "pawn woman of Mwaash," her husband/brother king. The Ngaady Amwaash and Moshambwooy masks dance together on ceremonial occasions with great dignity and pride“.University of Virginia, African Masks Signs of use. H: 48 cm (19 inch). Literature: Bacquart, Jean-Baptiste (2010) The Tribal Arts of Africa. FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Lightweight wood, brown patina, white kaolin, remains of black paint, of elongated form, hallowed eyes with small see slits, two elongated piercing in the cheek area, incised  More »

Lightweight wood, brown patina, white kaolin, remains of black paint, of elongated form, hallowed eyes with small see slits, two elongated piercing in the cheek area, incised triangular pattern at the chin, geometric scarification marks. The Kuba call themselves "the children of Woot” after their founding ancestor (Vansina 1964) Kuba art is characterized by its use of geometric patterns and cowries shells. Three types of mask have been associated with dances that take place within the royal compound. The first, called Mwaashamboy represents Woot, founder of the Bushoong tribe. The second, known as Ngaady Amwaash, personifies Woot‘s incestuous sister-wife. The third mask, the Bwoom, represents a pygmy and is associated with Woot‘s evil brother. “This mask, Ngaady Amwaash portrays Mweel, Woot's beautiful sister and wife (alternatively, mother), and who represents women in general. The mask is striking with its strong pattern of white and black triangles painted on the face, which are said to represent hearthstones and domesticity. Lines painted down the cheeks represent tears and recall the pain of death, for royal masks often appear in funerary contexts. The tears also denote the hardship of a woman's life as a "pawn" of male authority -- befitting the mask's name (Ngaady Amwaash), which means "pawn woman of Mwaash," her husband/brother king. The Ngaady Amwaash and Moshambwooy masks dance together on ceremonial occasions with great dignity and pride“.University of Virginia, African Masks Signs of abrasion, traces of insect caused damage. H: 22,5 cm (8.8 inch). Literature: Bacquart, Jean-Baptiste (2010) The Tribal Arts of Africa. FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Wood, iron, nice patina from age and use, fine human figure with blade placed in mouth indicating a tongue. Signs of use. Figure: 51 cm (20 inch) Blade: 28 cm  More »

Wood, iron, nice patina from age and use, fine human figure with blade placed in mouth indicating a tongue. Signs of use. Figure: 51 cm (20 inch) Blade: 28 cm (11inch). FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Wood, fine patina from age, bright pigments, gesso like undercoating, geometric patterns on the foreground, centred by a female figure finely carved in such high relief that  More »

Wood, fine patina from age, bright pigments, gesso like undercoating, geometric patterns on the foreground, centred by a female figure finely carved in such high relief that it seems about to step out from the background. The Nkanu initiation art combine human and animal images with dimensional floral and geometric patterns that convey meaning through color and symbolic imagery. The panels were displayed inside the enclosure called kikaku. The kikaku and its contents - wall panels, guardian figures, head posts, sculptures, formed the stage for the public celebration marking the end of the initiation cycle. Each panel tells its own story. Together the wall panels and figural sculpture function as a visual language that can be read only by those educated within nkanda. These images speak of rebirth, emotional and sexual maturity, death and the spirit world, and community values. Signs of use, some damage. H: 63 cm (24 3/4 inch).   « Less

Wood, patina, covered with mineral pigments and ancient glass beads, young female portrayed standing with knees flexed, one hand covering on her private parts showing modesty  More »

Wood, patina, covered with mineral pigments and ancient glass beads, young female portrayed standing with knees flexed, one hand covering on her private parts showing modesty and the other hand on the breast showing maternity, muscular and wide legs showing that the woman depicted is young and healthy. H: 39 cm (15 1/3 inch). FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Wood, blackened, figure of closed contours with serene stylized facial features, hands joined in ornamental design showing some Asiatic influence. Such figures were used in  More »

Wood, blackened, figure of closed contours with serene stylized facial features, hands joined in ornamental design showing some Asiatic influence. Such figures were used in manipulative magic. Slightly damaged, paint rubbed off. H: 38 cm (15 inches). Literature: Batak, Kunst aus Sumatra, Museum fur Volkerkund, Frankfurt 2000, p. 90. FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Wood, blackened, figure of closed contours with serene stylized facial features, hands joined in ornamental design showing some Asiatic influence. Such figures were used in  More »

Wood, blackened, figure of closed contours with serene stylized facial features, hands joined in ornamental design showing some Asiatic influence. Such figures were used in manipulative magic by the Toba Batak tribe. Slightly damaged, paint rubbed off. H: 37 cm (14 ½ inches). Literature: Batak, Kunst aus Sumatra, Museum fur Volkerkund, Frankfurt 2000, p. 90. FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less