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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

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Akan - combs

Very simple, adorned with a simple carved geometric decoration, Akan, however, these combs are provided with a great patina, the wood is as hard as metal and their authenticity can not be doubted. Are high, respectively 9, 15 and 17 cm.

come from the German Collection of Thomas Waigel.

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Songye - figure "power" miniature

The third object of type "fetish" that I present is also the most significant qualitative Despite its tiny size, only 12 cm in height, because the ability the sculptor has managed to make a thumbnail in the whole "presence" and the monumental statue of a much larger and, just looking at the pictures, it would be impossible to tell at first glance the true dimensions of this extraordinary piece.

Following the identification of centers of sub-ethnic style Songye given by Neyt in his recent work, now absolute point of reference for the investigation on the production aesthetic of this population, the morphological characteristics and style of this statue make it possible to attribute it to an important workshop of the "first Western tradition" (Beland region).

also purchased from this gallery Craig De Lora Tribal arts, comes from one of most important American collections of recent decades, that of William Brill hesitated and was recently auctioned at Sotheby's in New York on November 17, 2006 (Lot 117b).

Bibliography on the thumbnails:

1) Sculptures miniatures de l'Afrique Noire. Rees Collection Diepen

François Neyt - Uitgave Rees Diepen, Tilburg, 1990

2) Miniature Wood Carvings of Africa

William Fagg - New York Graphic Society, Adams and Dart, New York, 1970

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Songye - figure "power"

This another little fetish, 18 cm high, is more raw than the previous one and the dealer from whom I bought it, the American gallery owner Craig De Lora, suggests that a figure could be "incidental" hanging by a statue of larger . However, the type of the face is undoubtedly Songye and very similar - albeit at a much lower level of quality - to a similar subject recently beaten in the auction in Paris (Sotheby's, June 23, 2006, Dintenfass collection, lot 43). The patina developed on reddish wood, and the object is quite good, though not certainly a masterpiece of the genre, is quite satisfactory. before De Lora, comes from the American gallery of Charles Jones.

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Songye - Figure " of power "

I Songye, and Song, are one of the most famous people of central figures and their "power" once called "fetishes," as well as their masks kifwebe colored stripes are among the items most recognizable iconography among those of African arts as a whole. The art is an art Songye very "strong", particularly expressive, made of contrasts that evoke powerful emotions: love it or like it or not at all, because they are too addictive or because even scares.

fetishes, as in the whole area of \u200b\u200bthe Congo, are "loaded" curative or protective value of the presence of a mass composed of substances "magic" found in the case of figures "power" in the horns of antelope inserted Songye in them, in the recesses of the statue taken from the body or in containers attached to the body of the illustration. In this case, as you can see, there are a small horn, now empty, on top of the head and another horn located in a small bag slung over the arm of the sculpture, which is carved only on the upper half of the body. The power figures Songye, depending on the size, holding various roles: from larger to protect the entire village a few inches high to those intended for personal protection "magic" of individuals. This example of good quality, 16 cm high. without the horn, it is obviously a personal fetish, and still exudes an oily film and glossy. E 'was beaten in the auction at Phillips in London in July 1991 and comes from the collection of Umberto Giacomelli, from which I bought myself.

Bibliography:
1) The rule redoutable Songye d'Afrique Central
François Neyt - Fonds Mercator, Anvers - 5 Continents, Milan, 2004

2) Etudes Songye. Formes et symbolique. Essai d'Analyse.
Jean Willy Mestach - Galerie Jahn, Munich, 1985

3) The intelligence des Formes
Jean Willy Mestach - Tribal arts Marc Leo Felix SPRL, Brussels, 2007

4) Emil Torday and the Art of the Congo. 1900-1909
John Mack - The Trustees of the British Museum, London, 1990

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Akan - bronze cup with handle

Among the Akan, the ethnic group most numerous and important in Ghana, are particularly significant bronze objects used for the handling of gold dust, raw material relatively common in the former "Gold Coast" rich mines of the precious metal. Containers closed by lids decorated, if such forged or kudu Forowa if built with a riveted plate, as well as ornate spoons are objects of prestige and loads of unequaled beauty.

addition, of course, to those who are perhaps the most famous objects in bronze of West Africa, namely the "goldweights, small statues figurative or geometric figures to weigh gold dust.

what shows in these images is neither a spoon, given the large capacity and very deep, or a container as such, but it is a kind of cup, probably connected with ritual use or however, related to trade in gold.

To look is quite old, perhaps dating from the 19th century, and the decorations are refined and delicate as the flower seeds now invisible has been recorded on the external lower surface. It 's a simple object but, in my opinion, very nice.

comes from the private collection of a German fan of bronze objects, Dr. Topp, who bought it as kudu, but they are not convinced of this, submitted it to the expert opinion of the famous Karl-Ferdinand Schaedler that the identified as "sacred cup for special occasions" and similar appearance with a copy posted on its volume Erde und Erz page. 173.

Io l'ho dal acquistata collezionista ed esperto Wilfried Glar inglese, che l'acquisto a sua volta nei primi anni '80 da top.

Bibliografia:

1) The arts of Ghana

Herbert M. Cole - Doran H. Ross - UCLA, Los Angeles, 1977

2) earth and ore 2500 years of African Art terracotta and metal

Karl-Ferdinand Schaedler - Panterra Verlag, Munchen, 1997

3) The art of metal in Africa

Marie Therèse Brin Card - The African - American Institute, New York, 1982

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

Andre Blandin - Marignane (FR), 1988

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Raman - lock anthropo-zoomorphic

Among the peoples of the former Western Sudan, now divided between Mali, Côte d'Ivoire and Burkina Faso, particular interest has been aroused locks carved in wood, used to close the doors or windows of houses or barns. The most famous are those of the Dogon and Raman (Bambara also appealed to the old texts) are zoomorphic or anthropomorphic figures with symbolic meanings that are beyond the simple "material culture" in some cases to get to the real art. This is a fine example of Raman and represents a highly stylized human figure, with only the lower limbs as the arms are missing here symbolized by the bolt, with the head characterized by animal ears, maybe a hyena.

The item comes with a very good patina, clear signs of age, and the construction of the base reveals a French origin. E '43 cm high. Including the base. I have purchased from the gallery of American Craig De Lora and previously belonged to the collection Endicott. Its overall quality seems very good.

Bibliography:

1) Raman. The Art of Existence in Mali

Jean-Paul Colleyn - Museum for African Art, New York, Museum Rietberg, Zurich - Snoek-Ducaju & Zoon, Gent, 2001

2) Bamanaya. An art of living in Mali

Jean-Paul Colleyn - Catherine De Clippel - Centro Studi Archeologia Africana, Milan, 1998

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Ada - figures

Like Ibeji few decades ago, and as Venavi pochissmo up to the weather, this type of objects are still considered virtually outside the "Aesthetic" of the arts of Africa, at least in their "institutionalization" in museums and collections in the West. Very common in the villages of the border between Togo and Ghana, these little statuettes were awarded to the first Konkomba and now more frequently to Ada, and Adan, there are few references on the texts of art or anthropology but is in preparation a exhibition, with its publication dedicated specifically to the production of the Volta Region (populations Ada, Anlo-Ewe, Krobo and Ning) by the Centre of African Archaeology of Milan, which will hopefully make a significant contribution to make things clearer.

For now, the few texts mentioning these figurines will give confusing and contradictory information. The first mention is in the text of African sculpture segy Ladislas (1958) in which two statuettes of this type are given as source "of Black Volta Region": the guy with the shovel to the face and without an arm (which I do not possess) is said to represent an evil spirit, Ariza, while the type with one arm raised to hold a container held above the head (in my figurines is red in color) is said to represent the spirit of water, Arbor. The catalog of the collections dell'Afrika Museum in Berg en Dal, Forms of Wonderment, but attributes them to Konkomba, following two articles in German anthropology (1963rd Froelich and Hanh 1991), but none can explain the function and meaning. The German magazine

anthropology Tribus (# 18, August 1969) Dzag Cudjoe in "Ewe Sculpture in the Linden-Museum" describes two examples (the first of which type of container with a raised arm on head and the second is like the second from the left in the picture I present here) called "Aklama figures" and recalls that the original cataloging of German museum describes them as "idols families from nearby Keta. Recall that Keta is a village on the sea coast of Ghana close to the border with Togo, a few kilometers from Lomé.

not having appeared in more specialized studies and not appearing at international auctions, in which a certain so "institutionalized" the status of an object, the fact that today these figurines are almost uniquely appealed as Ada is therefore a little mystery.

Like many similar objects - for example the already mentioned Venavi - the rest of their average quality is low and it is not easy to find antiques, carved in wood because they are also very light and very little longevity. The interest lies in the lines and volumes in the highly stylized and geometric, obtained in polychrome woods of different colors and with various pigments, mainly red, black and white striped applied and made "flat", almost two-dimensional human body or animal.

The five samples that show in this picture are high from 15 to 23 cm. and, second from the left side showing some signs of age, are fairly recent production.

Bibliography:

1) African sculpture

Ladislas segy - Dover Publications, New York, 1958

2) Forms of Wonderment. The History and Collections of the Afrika Museum Berg en Dal.

Vol.1 AA.VV. - Afrika Museum, Berg en Dal, 2002

3) Ewe Sculpture in the Linden-Museum

Dzag Cudjoe in Tribus - Veröffentlichungen des Linden-Museums , # 18, August 1969, Stuttgart, 1969

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Luba -" doll "

Among the many types of "dolls" in the various areas of African arts style, a type of other less well known is this, coming from the Luba of the inner zone of the Congo. Formerly incorrectly referred to as "figures of twins" in the likeness of the same name figures in the west Africa, these "dolls" Luba are now clearly identified as protective figures that girls / girls in Luba take care during the period of isolation from the social group in the period initiation into adulthood.

error, evidenced among others by the famous scholar of the area in question Marc Leo Felix (communication personal 04-01-2007), probably dates back to an erroneous interpretation of similar "dolls" of Tabwa by the scholars who edited the famous catalog of exposure on the population at the Smithsonian in 1986.

However, it is evident from the truncated cone-cylindrical configuration of the human figure represented the relationship of these figures and Luba Tabwa with the most famous "little dolls" Zaramo Kwere and Tanzania, not so far away geographically. It 's a particularly telling example of how a certain type of African aesthetics come at a very extreme level of a human figure, in this case reduced to simple geometric solids overlap.

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Mambila - figure Protection

The art that comes from the style situated on the border between northeastern Nigeria and Cameroon Northwest sees objects, masks and mainly sculptures, especially powerful in times volumetric resolutions comparable with cubism and expressionism, sometimes with more stringent, although it is clear that these categories are designed to European art still wholly inadequate and inappropriate to describe the otherness of this artistic production. One of the best known ethnic groups in this area are the Mambila (or Mambilla) Known mostly for the features zoomorphic masks that reproduce, with very similar features in truth, the crow and the dog, and the figures of ancestors antropormorfe very stylized, made of solid wood but also in softer bone.

The subject presented here has the appearance of one of these forms, namely the one with the raven's head (the dog has teeth ...), but it's not a real mask and its size, less than 12 cm in length, they proclaim it clearly. Instead, it is the end of a wooden object "snake" used as a means of protection against supernatural attacks, whose tail - reduced here to a few inches - was composed of a tube of fabric stuffed substances likely to be "magical."

staining, in natural pigments, takes the classic chromatic objects Mambila: red and black, in this case, which could be added also white, not present here.

of a similar piece of this collection Hecht wrote in 2002 on African Arts Roy Sieber, Barry Hecht: "[...] this sculpture could be the 'head' of a figure of protection. The extended tubular structure on the back could be been a long tube connected to fiber, as illustrated by Nancy Schwartz in his catalog of the collection of art Mambila Gilbert Schneider (1972: 31). These figures with their body of material shaped and snake are security tools are building, which is built on poles, used as a storage room of ritual objects. Suspended with cords, and the waving air. Like most Mambila art is painted with the colors red, white and black. "

The object is currently in my collection was sold in the early '90s New York art dealer from the Collection Sulaiman Diane Noble and Jean Endicott, and later, he joined the gallery of Craig De Lora (New Jersey) from which I recently bought myself.

Bibliography:

1) African Art in the Mambila collection of Gilbert D. Schneider

Gilbert D. Schneider - James Yingpeh Tong (photos) - Publ. James Yingpeh Tong, Athens (USA), 1967

2) Mambilla. Art and material culture

Nancy Beth A. Schwartz - Milwaukee public museum / Publications in Primitive art, Milwaukee (USA), 1972

3) Art of Cameroon

Paul Gebauer - Portland art Museum, Portland (USA), 1979

4) Expressions of Cameroon art. The Franklin Collection.

Tamara Northern - Rembrandt press, Los Angeles - Baltimore - Hanover (USA), 1986
5) Eastern Nigerian art from the Toby and Barry Hecht collection

Roy Sieber, Barry Hecht - in African Arts, Spring 2002, UCLA

6) Mambila Figurines and Masquerades: Problems of Interpretations

David Zeitlyn - in African Arts, Autumn 1994, UCLA

7) The age, power and retorique . The case of the Mambila in Cameroon

David Zeitlyn - in Peoples and Cultures of Adamawa (Cameroon) , Paris, ORSTOM, 1993

8) Mambila avatars & the Ancestor Cult: Problems of History and Interpretations

David

Zeitlyn - e-book ( http://www.era.anthropology.ac.uk/Era_Resources/Era/Ancestors/dzanc.html ), University of Kent 2001/2007

9) Tribal Studies in Northern Nigeria. Vol 1

Charles K. Meek - London, Kegan Paul, Trench, Trubner & Co.Ltd., 1931