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Temne Headdress Mask for the Ordehlay (Ode-Lay) or Jollay Society, Sierra Leone #899 The Temne, who are related to the Baga, live in small Chiefdoms within Sierra Leone. Villages are socially regulated by Secret Societies such as the male Poro Society and the Female Bondo Association. A Kotu (masquerade builder) created this mask for a Temne Cultural Society, a kind of Mutual Aid Association. These masquerades emerged from Yorùbá practices transplanted from Nigeria to Sierra Leone during World War I. Cultural (or Masquerade) Societies and the Villages they support pride themselves on innovation. Masquerade Society masks have evolved to reflect new, international influences. The mask’s face shape and “fancy” aesthetic suggest it was created for entertainment. The Female Goddess aspect likely alludes to the transcultural Water Spirit Mami Wata. Though Mami Wata's origins probably pre-date European contact, Her "snake-charmer" persona draws heavily from a 1955 Indian lithographic reproduction of German posters of 19th Century Samoan Circus Performer Maladamatjaute.

Temne Headdress Mask for the Ordehlay (Ode-Lay) or Jollay Society, Sierra Leone #899

Bembe Maternity Figure, Republic of Congo #33 A finely carved wooden Female Effigy, Nkiteki (Ancestor Figure), or translated as "Good Wife" with her child on her back. Featuring raised scar designs, with one inset glass eye, and one old repair of a carved shell eye. The Figure exhibits a well handled honey colored surface patina suggesting years of use. The Bembe believe that the small anthropomorphic Figures in wood are a representation of themselves, both in Form and in Spirit. Anyone with the financial means, usually experienced Leaders and Hunters, can commission an artist to carve a Portrait of an individual they wish to venerate, or a Self Portrait, in the way one wants to remember today and after one's death. The figures highlight the Continuity between Ancestors and Living, and demonstrate the important role that Ancestors are thought to play in ensuring the Fertility and Protection of the Family and the Community. The Biteki Characters are housed with other Ancestral Characters in a Family Shelter called Nzo Bakulu. The Nzo Bakulu is guarded by an Elder of the Family to which the Characters belong. The village leader, Nga-Bula, was responsible for interceding with the Ancestors. Hunting being a major activity, Ancestors were invoked through Statuettes. These Idealized Representations of Ancestors, Biteki, Kitebi or Bimbi, consecrated by the Village Sorcerer or Shaman, bore attributes of Hunters, Healers and Idealized Female Characters such as The Ancestral Mother, The Ideal Wife. Some of them, as in the Kongo Culture, were Magical Objects called Minkisi, with nails and were equipped with holes in which medicines, Bilongo, or Relics of Ancestors, were introduced. Measurements: 6.69 Inch Condition: Fine. Featuring raised scar designs, inset glass eyes and a well handled honey colored surface patina suggesting years of Village use. Very beautiful patina and superb scarification work. Social Organisation was based on the Matrimonial Clan, whose members could live in several villages. The family unit generally included three generations. The chief in charge of the Village, the Nga-Bula, Mediated Spiritually with the Ancestors. Hunting was the main activity in Béembé Villages. Before leaving on a Hunt, the Leader would invoke the Ancestral Spirits, using as intermediaries Statuettes Kneeling in the position of a Hunter Waiting for his Prey. The Bembe believed in a Creator God, Nzambi, whom they did not depict figuratively. He was the Master of the Life and Death – unless the latter was due to the act of a Sorcerer, Ndoki, who could magically “eat” the Life Force of Clan Members. The Ancestors had close ties with the Living and received offerings through the “Priest” who made appeals to Statuettes, the Kitebi or Bimbi, consecrated by the Sorcerer. These Figurines were the idealized images of the Ancestors and would often wear attributes that allowed them to be identified as Medicine Men, Idealized Female or Maternity Images, or Hunters. The Ancestor worship among the Bembe is older, though, and precedes the use of magic statues, Nkisi, by the Sorcerers. Bembe Figures: In terms of Artistic Practice, the Bembe have much in common with other Kongo Groups, such as the use of Nkisi figures. However, Béembé Figures are the most distinctive form of Bembe Sculpture. Béembé are reknowned for their meticulously carved Ancestral Figures rendered in Idealized Form. They display extensive geometric incisions representing scarification on their abdomens, and their eyes are inlaid with ceramic or shell shards. Some Béembé Ancestor Figures have a small cavity between their legs, into which medicinal substances, A Bilongo or "charge" were inserted; this practice endowed the figures with Protective Powers. The Classic Bembe figure usually is upright with knees slightly bent, its large feet with carefully articulated toes standing on the base; the seated position occurs less frequently. Female Statuettes have a pronounced, almost oval or square shape, triangular chin, a full nose and mouth, finely sculpted ears, and hair carved in relief on or above the forehead. The hands of male sculptures’ are typically turned toward one another and are carrying implements that represent the ancestor's profession in life Established on the plateaus of the People's Republic of Congo ex. Brazzaville, and not to be confused with the Bembé group north of Lake Tanganinyika, the small Babembé group, Bembe, was influenced by the neighboring Teké People's Rites and Culture, but were impacted especially by that of the Kongo Peoples. They are considered a Kongo subgroup. Origin is The Republic of the Congo also known as Congo-Brazzaville, the Congo Republic or simply either Congo or The Congo.

Bembe Maternity Figure, Republic of Congo #33

Yoruba Egungun Janus Headress, Nigeria #1145 PROVENANCE Provenance: From the collection of Ursula Voorhuis (1932-2021), St. Agatha, The Netherlands. She was the first Collector/Dealer who brought Yoruba art to the attention of Western Dealers and Collectors. Yoruba Masquerade Headdress for Ancestor Reverence, or the Ancestors Themselves as a collective force. Egungun is a visible manifestation of the Spirits of Departed Ancestors who periodically revisit the human community for remembrance, celebration, and blessings. Egún is the Yoruba word for “Ancestors.” Egún in a slightly different Yoruba tone also means “bones.” This Yoruba word and its double meaning connect Ancestors to the bones of the human body, emphasizing the interconnectedness between ancestors and living descendants. Origin is Yoruba People, Nigeria

Yoruba Egungun Janus Headress, Nigeria #1145 PROVENANCE

Attie Female Medicinal Figure, Côte d'Ivoire #785 An Attie sculpture of the Lagune People, a Healing Medicinal Figure from the Lagoon-Peoples of Côte d'Ivoire. The wooden pins aren't signs of scarifications, how it's written sometimes in Western literature; they are more widely believed to be places for Ritual Medicine. We have collected sculptures with moveable pins (s. the photo of this sculpture) and with pins, which are fixed together with the Healing Figure. We don't have scholarly explanations for the differences yet. Traces of kaolin all over the sculpture. Signs of age and Ritual Use. Measurements: 47cm; 18.5" height Condition: Good Origin is Côte d'Ivoire

Attie Female Medicinal Figure, Côte d'Ivoire #785

Dogon Antelope "Walu" Mask, Mali #638 The Dogon People currently number around 350,000 people and are settled in the Hombori Mountains area. The small Communities living in scattered Villages are the Descendants of the Tellem People, whose dwellings still exist, high up in the inaccessible cliffs of the Bandiagara Escarpment, which were declared a World Heritage Site in 1989. In Western culture, the Dogon are best known for their art. Their works derive from and relate to the fascinating Mythology of the Dogon Universe. The Dogon dance a variety of Mask types that belong to the Awa Societies and appear mainly on the occasion of the Dama Funeral Ceremonies honoring the Ancestors. They represent animals, things or people and are made of plant fibers, fabric or wood. They are symbolically derived from the approximately 10 meter long, snake-shaped Mother Mask, which is exhibited for 6 days at special Funeral Services and is particularly honored at the big Sigi Festival, which only takes place every 60 years in honor of the Ancestors. One of the animal masks is the Walu Mask shown here. Depicted is an Antelope admired by the Dogon for its strength and elegance. According to popular belief, the "Walu Performance" illustrates the Mythical Story of the Creation of the Antelope by Amma (the Creator God). Measurements: H 65 cm; 25.5" height Condition: Visible wear and long term use damages, and nailed addition on the left sidebar (see photos). Further reading: Bilot, Alain / NDiaye, Francine et al. (2001). Masks du Pays Dogon. Paris: Adam Biro. Provenance: - Swiss Private Collection, Zurich. - Swiss Private Collection, Schwyz.

Dogon Antelope "Walu" Mask, Mali #638

Ewe Venavi Female Twin PAIR, Togo #337 PAIR Rare and Important Couple of Venavi Twins The Ewe from Togo. The Two Feminine Venavi are in a rare kneeling position. Very fine treatment of the feet. They are ornamented with multiple necklaces, bracelets and belts with beads of diverse colors. The hair is crafted by black pigment One of the statuettes presents a longitudinal crack on the entire left side. Measurements: 27.5 cm and 30 cm; 10.8" and 11.8" Height Origin is Togo

Ewe Venavi Female Twin PAIR, Togo #337 PAIR

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