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Kaonde - whistle

High 11.25 cm, this whistle comes topped with a human head from the little-known population of Kaonde, who inhabit the area between Zambia and Congo, yet ethnic linguistically linked to the group Luba-hemba-songy, the Kaonde are closer to the group artistically Chokwe (or Tschokwe as they are called in French-speaking area) and related sottoetnie that expand beyond the area already mentioned above in Angola.

The patina obtained with hot irons and the holes (and not with tools to drill) suggest a model dating back at least to the first half of the 20th century. The face above is simple but with good execution and refinement of the classic aura "dreamy" which is also found in the masks of the people listed.

De Lora comes from the gallery of New Jersey (USA).

Bibliography:

1) Chokwe! Art and Initiation Among Chokwe and Related People

Manuel Jordan - Prestel, Munich, London, New York, 1998

2) Sculpture Angolaise. Mémorial de cultures.

Marie-Louis Bastin - Electa / Museu Nacional de Ethnology, Milan / Lisboa, 1994

3) Art décoratif Tschokwe. The collection Henrique Quirino da Fonseca

Dominique Remondino - Editions D, Geneve, 2002

4) Makishi Lya Zambia

Marc Leo Felix and Manuel Jordan - Verlag Fred Jahn, Munich, 1998

5) Chokwe

Boris Wastiau - 5 Continents Visions of Africa, Milano, 2006

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Cameroon (Bangwa? Babanki? Bamun? Bamileke?) - Flute

Among the musical instruments aimed at specific activities, in this case ritual dances but also in shipping war or hunting stands out this type of flute / whistle for the people of Cameroon. It was typically used in groups of three to play highly rhythmic sounds .

Exposed as you see in the photos on hand, represents a stylized human figure, which we clearly recognize the two legs, but upside down - as in the first photo - is probably the figure of a cow with two horns.

You can not define with certainty the exact population that produced this particular specimen, but it can be assumed with sufficient certainty from the region a the Grasslands, and thus perhaps or by Bangwa Babanki or some other subgroup of the strain or Bamun Bamileke.

The patina indicates good antiques and a long usage. The base has been specially built by the famous American craftsman Amyas Naegele. The piece comes from the New York gallery of Michael Oliver and was subsequently in the important collection of Noble and Jean Endicott. I have purchased from the gallery of Craig De Lora.

Bibliography:

1) Africa. Art forms.

Marc Ginzberg - Skira, Milan, 2000

2) Kunst in Cameroon
Bernhard Gardi - Museum fur Wolkerkunde, Basel, 1994

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Dogon - locks

The Dogon, as other populations of the Sahel of Mali (eg Raman), use of sculptures sometimes quite complex, stylized, anthropomorphic or zoomorphic and always with a clear symbolic value, such as locks on closing the doors of barns or dwellings. The "body" of the lock represents the feminine, while latch wood that is clearly crosses the male symbol of the penetration, if the act of opening is akin to the idea of \u200b\u200blife and birth, alludes to the final closing at the end of life, the death of all things. In the examples shown here

the theme is, except for the final down, one of the turtle: water or land, the turtle is characterized by the Dogon locks in a diamond pattern on the surface of the lock body to represent the scales of shell and the elongated head and is equipped with or without tail. In the last example, however, raised the animal is a bird, anthropomorphized by the presence of the two legs.

The patina of locks, regardless of their age, depends mainly on the position in which they were exposed, whether more or less affected by the weather, and many of these coatings are dried and dehydrated indicator element to understand the actual use are the subject to friction or rubbing that for the real specimen and actually used must be worn in a characteristic way.

Bibliography:

1) Serrures du Pays Dogon

Bilot Alain, Michel Bohbot, Genevieve Calame-Griaule, Francine Ndiaye

and Adam Biro., Paris, 2003

2) Dogon corn encore. ..

AA.VV. - Somogy ed., Paris, 2002

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roll magic Ethiopian

An injury is quite common, about the arts of Africa is not Mediterranean, is that these events are free of aesthetic "pictorial." This assumption is contradicted not only by archaeological rock or images, for example, are among the Dogon, but also use color, natural pigments and only once - after the white settlers - especially with the use of industrial paints, which many African people in addition to traditional pieces, especially the masks.

A separate artistic events are those associated with the two great monotheistic religions that have spread throughout the centuries in Africa: on the one hand, the Islamic amulets, they are often also in the "composition" of traditional pieces (think Sowe certain forms of female society Bundu or certain Ibeji Yoruba), with all their apparatus of geometric ornamentation and calligraphy, on the other side of the Coptic Christian Ethiopia, with the processional crosses pending or iron or bronze, and the Kongo crucifixes, some of them very old.

Just part of Ethiopian religious works can be found in fact one of the most artistic painting in the Western sense, of all African arts: icons on wood and rolls of "magic".

In particular the latter holding, in my opinion, a great interest in the religious world mate Christian apotropaic animist beliefs, traditional cultures of Africa, "black", and then appeared as a unique meeting point that is syncretic maybe its just similar to voodoo overseas version Santer ia.
These rolls parchment, sometimes quite long, used for protection against illness or demonic possession, as well as written prayers they contain figures painted in bright colors that are always - or almost - a guardian angel, normally located at the opening of the roll, and other figures, including depictions of demons and, above all, the talismanic figure in which a human face is surrounded by figures in a star or combinations of squares, which often uses the symbolism of the eye that sees everything.

These figures are, or rather can be, the representations of disease-causing demons to be removed from the neutralized talisman as representations of the same patients protected by the talisman or, even, are both angelic figures or divine.

rolls, contained in a pocket or small leather bags were hung around his neck and used mainly by women.

This specimen I have is 170 cm long x 20 wide and, after the canonical angel, sees other three figures: two and a talismanic depicting a ruler.

Bibliography:

1) Dérulement de l'ange. Rouleaux magiques éthiopien - The

Constantin Kaiteris - The Archangel Minotaure - Chemin des Puits (FR), 2005

2) Enchantement du demon. Rouleaux magiques éthiopien - II

Constantin Kaiteris - The Archangel Minotaure - Chemin des Puits (FR), 2006

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Akan "soul washer's badge"

This object, 10 cm. diameter gold-plated bronze, belongs to the realm of "arts of the court" is a piece that is designed and intended for a social function related to power management in an institution recognized type of monarchy. So it is obviously far from the style which, in various forms, often characterized by the traditional tribal arts African and is directed toward a refinement and a gem of execution that is closer to the Western conception of the decorative arts.
This type of object, originally brought only by the sovereign and the Akan of Ghana's most important dignitaries of the court (the bearers of the sword - a symbol of authority, the carriers of the brackets "linguists" and the warriors in the highest degree), was worn as a pendant as a result of "luck" even by girls during puberty rites of initiation into adulthood. The kings of Akan, also make them take even a sort of bodyguards, true duplication of the sovereign from among those born on the same day of the week when the king was born, who attend the most important ceremonies, according to the king himself, thus forming a sort of shield symbols, such ceremonies are called akrafo ("anime" or "soul washers" in English 'Soul Washers') and are the symbols vitality of the living and the fate of the king, taste the food of the monarch before him to ensure it is safe and when the king dies, they are obliged to accompany him to the grave.
Frequently, these pendants are solid gold and the fact that this, too well made and of good antiques, gilt bronze and argues in favor of a less important source of nobility, and probably belongs to the type used by the girls in the process of initiation .

It comes from the German collector and scholar Wilfried Glar.

Bibliography:

1) The arts of Ghana

Herbert M. Cole - H. Doran Ross - UCLA, San Francisco, 1977

2) The Royal Arts of Africa. The majesty of form. Suzanne Preston Blier

- Prentice Hall, NJ (USA), 1998

3) Religion and Art in Ashanti

Robert Sutherland Rattray - London, 1927 (repr. 1959)

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Gurma - bronze bracelets

Gurma I, also known in French-speaking regions Gourmantche are linguistically relative of a population with the most famous and live in the northeastern Mossi of Burkina Faso. Among the items most frequently found between the artistic production of this people, there are certainly large and elaborate bronze bracelets or similar alloys.
ornaments but also loaded with an exchange value, the bracelets are inscribed with Gurma graphic patterns reminiscent of the lines used during the rituals of divination and, therefore, also have symbolic value-magic.

From top to bottom the first bracelet evokes the symbolism of the snake (it is a "snake-bracelet") and, in this type is quite rare. The second, also not in common type, is rather like double cast, with a bronze alloy and less than a high percentage of copper and, therefore, with a color more yellowish or reddish, depending on the areas concerned, according to the expert Wilfried Glar (personal communication), this is not simple technique has been used by only a few craftsmen through the first half of the 20th century. Also for this second piece evoked the symbolism is that of the snake. The next two types see bracelets most common, although the quality rather than discrete objects: the second of the two is like "nodes", also reported by Blandin in his text, and the first "shining" almost golden gloss.

The last two bracelets shown are the most bulky and heavy: the Gurma is the first and the second (lighter in color and open) is probably the invoice Fulani, an ethnic group which shares a border with Gurma to the north of Burkina. The five

Gurma bracelets come from Wilfried Glar while the Fulani by Klaus-Jochen Kruger.

Bibliography:

addition to texts already reported for bronze objects

1) Afrikanische Reife. Teil 5: Die Gurma

Wilfried Glar - Glare, Bedburg, 2007

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Senufo (and neighboring population) - pending

These small pendants come mainly from the Senufo bronze, known people who inhabit the area between the Ivory Coast, Mali and Burkina Faso, but also - as was only recently discovered - many small ethnic groups of the Southwest Burkina Faso (Turka, Guin, and Tusyan Karaboro), with some relatives of the Senufo themselves (such as Karaboro) and other log furnace.

Small in size, the five examples that I present on this occasion, ranging from 2.5 cm to less than 6 cm, these objects were hung around his neck, arm or waist with a leather string through the arms and torso of the figure represented and were worn mostly by women and children for protection. The figures shown are the spirits of the bush , genes the forest to be exorcised and / or whose sympathies attattivarsi.

The first two from the top, superb quality, from the collection of William Kohler and American have gone at auction at Christie's in New York November 20, 1997.

The third, forms very "relaxed" and made smooth by long years of use, come from the collection Endicott, too, as all previous ones, is produced by Senufo and was purchased by me from the gallery of Craig De Lora.

The next two, very small and certainly for children, are very old, probably of the 19th century and these are from the gallery De Lora.

What should come next instead of ethnicity Tusyan and was acquired by the collector and expert on German Wilfried Glar.

The last of the series is, perhaps, Guin and I got it from German collector and expert Klaus-Jochen Kruger.

Bibliography:

addition to texts on bronze objects already reported this case in addition

1) glänzend wie Gold

Till Forster - Museum fur Wolkerkunde, Berlin, 1987

2) Die Kunst der Senufo

Till Forster - Museum Rietberg, Zurich, 1988

3) Soothsayer Bronzes of the Senufo

Eric de Kolb - Gallery of Hautbarr, New York, 1968

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Kulango anthropomorphic bronze - bronze pendant in Dogon divination

Kulango I have a small population, related ethnically and linguistically with the Lobi and even fewer Lorhon, which resides in the north of Ivory Coast, south of the island - in fact - from the lobes and left the area in which they live Abronah of Ghana (and in some texts, see Blandin, their production is related to, if not directly attributed to the fact Abronah).
Among the objects of this ethnic group - now more commonly seen at the level of ethno-anthropological texts as Kulango-Lorhon - certainly more than the best known are small bronzes, depicting a stylized anthropomorphic figure with the typical triangular face, torso and legs angled knee bent, feet flat surfaces depicted with vertical.
As in many other similar objects of the same geographical area, their aim is mainly related to security personnel who wears the 'amulet against bad luck and negativity and, especially, are used in divination rituals.

This extraordinary specimen, very old, worn and glossy, from the face of monstrous insect comes from the collection of Noble and Jean Endicott, and I have purchased from gallery of Craig De Lora (NJ). It 'just 3.5 cm high. but his "presence" in the picture makes it look much bigger, though lacking in this case the triangular flat surface that normally identifies the feet of these figures.

Bibliography:

1) Erz und Erde. 2500 Jahre Kunst aus Terracotta Afrikanische

Metall und Karl-Ferdinand Schaedler - Panterre Verlag, Munchen, 1997

2) Bronzes et autres Alliages. Afrique de l'Ouest

Andre Blandin - Marignane (FR), 1988

3) Die Kultur der materialisierte Ethnien der Volta-Region

Wilfried Glar - Glare, Bedburg (DE), 2006

4) Cire-perdue. Geheimnis und Faszination des westafrikanischen Gelbgusses

Johannes Glaser - Glaser, (DE), 2005

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- pending bronze














These two small pendants , between 3 and 4 cm., bronze belong to the ethnic Dogon of Mali. I am very likely (Nesmith, 1979 and Blandin, 1988) simple ornaments, worn by women and children.
come from the German collector and expert Wilfried Glar.


Bibliography:
1) Dogon Bronzes
H. Fischer Nesmith - in African Arts, February 1979

2) Bronzes et autres Alliages. Afrique de l'Ouest
Andre Blandin - Marignane (FR), 1988

3) materialisierte Die Kultur der der Ethnien Volta-Region
Wilfried Glar - Glare, Bedburg, 2006