Tribal Art

This female figure forms the sculpted incarnation of a edjo , hence the name edjo re akare. With igbeton high-ranking women, she also has jewelry, necklaces and scarifications. The surface remains partially encrusted with white clay and red pigments, the base on which the piece rests is fragmented. Cracks and gaps located on the lower part.
The Urhobos , living near the northwest of the Niger Delta River, form the main ethnic group of the Delta State among the 36 states of the Federal Republic of Nigeria. They speak Urhobo, a language of the Niger-Congo group. Together with the Isoko whose art is close, they are collectively known as Sobo . Their large sculptures depicting the spirits of nature, edjo , or those depicting the founding ancestors of the clan, to whom sacrifices were ...

A symbol of power, this African statue features a founding ancestor and mythical hero, Chibinda Ilunga, wearing the chipangula, intended for chiefs. He holds a ritual horn and a staff. The chiefs had a major function in the propitiation rites intended for hunting and the fertility of women. Applications of castor oil and coloring plant decoctions were generally administered to the surface.
Erosions.

Peacefully settled in eastern Angola until the 16th century, the Chokwé were then subject to the Lunda empire from which they inherited a new hierarchical system and the sacredness of power. Three centuries later, they ended up seizing the capital of the Lunda weakened by internal conflicts, thus contributing to the dismantling of the kingdom. The Chokwé did not have ...

The African statues associated with the Byeri cult embody the ancestor of the clan acting as "guardians" of reliquaries.
Figured seated, wrists and shoulders encircled by wicker vines crossed behind the back , the subject offers classically prominent musculature. A fragment of a ritual mirror lines the bottom of a cup placed on the bust. Hollowed pupils indicate a trance state.
Heterogeneous oiled patina, abrasions, restoration and cracks from use.

Among the Fang of Cameroon and Gabon, each family has a "Byeri", or reliquary box, in which the bones of the ancestors are kept. These boxes were guarded by the oldest man in the village, the “esa”. The reliquary boxes were topped with a statue or head which acted as guardian of the “byeri” boxes. These were kept in ...

Ex-French African artcollection.
Within the wide diversity of nkisi sculptures to which multiple virtues were attributed, this African maternity in figurative style, image of the protective ancestor of the clan, offers an abundance of very finely chiseled details. This type of female statue was accompanied by its male counterpart named Mabyaala.
Burgundy brown satin patina. Minor erosions and desiccation cracks.
The Vili, the Lâri, the Sûndi, the Woyo, the Bembé, the Bwende, the Yombé and the Kôngo formed the Kôngo group, led by king ntotela . With the same beliefs and traditions, they produced statuary with codified gestures in relation to their vision of the world.
Ref. : "Africa, the art of a continent" ed. Prestel (p.247)

Rarely presented in such a posture, the mbole sculpture here depicts a seated subject, hands clasped in prayer. Oiled black patina, erosions and drying cracks, restorations (reptile skin).
The province of Lualaba had several close ethnic groups with similar associations. The Mbole are known for their statues embodying, according to D. Biebuck, hanged men, called ofika. The lilwa, an association with dogmatic initiation rites, had the custom of judging and condemning to hanging those guilty of infractions of the imposed rules. These offenses ranged from murder to adultery to breaking the secret surrounding the lilwa. Dishonored, the bodies of the condemned received no funeral and were buried in the forest. It was during the end of initiation ceremonies, presided over by a notable ...

African statue altar part of a cult supposed to promote fertility and protect descendants, very widespread not only among the animist Idoma, but also among the Igala and the Yoruba of the South. These statues which benefited from offerings were kept in sanctuaries. Matte crusty patina. Erosions.
The Idoma live at the confluence of the Benué and the Niger. Numbering 500,000, they are farmers and traders. There are Igbo, Cross River and Igala influences in their art and customs and it is often difficult to distinguish them from their neighbors. Royal lineage members of their oglinye society, glorifying courage, use masks and crests during funerals and festivities. They also produced fertility statues with whitened faces displaying incised teeth. Janiform crests generally appear at ...

In African art, the sowei constitute, through Mende culture, the feminine ideal. This "bell" shaped mask called bundu, among the most important among the Mendé, features a face encased in rings, symbolizing an abundance of flesh associated with prosperity.
Painted black or tinted using a leaf wash, the mask was then rubbed with palm oil. Semi-matte patina, abrasions from use, gaps.
The Mende, Vaï and Gola cultures, of Sierra Leone, Liberia and the west coast of Guinea, are known in African art for the helmet masks and more particularly those of the female initiation society Sandé< /i> which prepares young girls for marriage. The male society is the Poro society. Relatively rare in sub-Saharan Africa, these masks are made by men and worn by women.
To close the rituals, ...

Stick surmounted by a Fang Mabea type miniature, embodying the ancestor of the clan, guardian of the reliquary boxes of the Byeri cult. Minor erosions.
Height on base: 645 cm.
The Fang ethnic group, established in a region extending from Yaoundé in Cameroon to Ogooué in Gabon, has strongly influenced the Mabea of southern Cameroon who have absorbed a large part of their rites such as so and the ngil. The reliquary statues, sculpted by the Mabea, are however generally larger than those of the Fang and adorned with various finery. The hairstyle is also very distinct, divided into shells, unlike the Fang crest. Among the Fang of Cameroon and Gabon, each family has a “Byeri”, or reliquary box, in which the bones of the ancestors are kept. The reliquary boxes were topped with a ...

Ex-collection of French African tribal art.
This African sculpture called "ugonachonma" depicts a young nubile woman. It included staging in village squares during dry season entertainment ceremonies. These figures are specific to village age groups in the north central Igbo region, around Onitsha and Awka. Women have specific criteria of Igbo beauty, including uli tattoos. Eroded matte patina, discreet polychrome highlights, drying cracks and gaps.
br>The Igbo worship a considerable number of deities known as alusi, or agbara, considered to be the descendants of Chuku, or Chukwu, and as such constitute intermediaries to whom sacrifices such as kola nuts, money, kaolin, are granted in order to enjoy their favors. These sculptures produced in several regions range from around ...

In African art, a panel of objects, the regalia, made up of headdresses, seats, weapons, crowns, scepters, cups and drinking horns, belong to the chiefs. They magnify and reinforce their authority. An emblem of power and prestige, this fly swatter is sculpted with a figure of a singiti ancestor.
Satin brown patina.
The Hemba, established in the south-east of Zaire, on the right bank of the Lualaba, have long been subject to the neighboring Luba empire which had a certain influence on their culture. The cult of ancestors, whose effigies have long been attributed to the Luba, is central in Hemba society. The singiti statues were preserved by the fumu mwalo and honored during ceremonies during which sacrifices were offered to them. Alongside the authority of hereditary ...

African mask "Unangled" whose carefully braided hairstyle contours the upper part of the face. A lustrous dark patina enhances the soft harmony of the features. The masks were sculpted according to precise instructions following dreams in which the spirits appeared. Height on base: 38 cm. Abrasions, small accidents.
The Dan masks, of various styles, generally occur during very theatrical entertainment festivals where women play a leading role. The so-called "mocking" mask called Déanglé defines an ideal of beauty and benevolence because it is sculpted in honor of the young girls of the village or renowned men. Each mask had a name linked to its function. Also used during circumcision rites, they appear in the company of the gle sö singing masks and the large go ge masks ...

The Fang of the region extending from Yaoundé in Cameroon to Ogooué in Gabon strongly influenced the Mabea of southern Cameroon. The latter have absorbed a large part of their rites such as the so and the ngil. The reliquary statues, sculpted by the Mabea, are however generally larger than those of the Fang and adorned with various finery. The hairstyle is also very distinct, divided into two shells, unlike the Fang crest. This figure of a female ancestor is treated according to the conventions in use, hands resting on the thighs. Its jewelry represents the copper torques and bracelets worn by dignitaries. Minor cracks. Heterogeneous, slightly grainy patina.
Among the Fang of Cameroon and Gabon, each family has a “Byeri”, or reliquary box, in which the bones of the ancestors ...

Collection of Belgian African art.

This African mask Ngbaka offers a curved structure curved at eye level. The discreet features are highlighted with linear scarifications. Thick abraded patina, erosions.
A tribe settled on the left bank of the Ubangui, the Ngbaka practice agriculture, and their artistic achievements were inspired by those of the neighboring Ngbandi and Ngombe tribes , with a distinctive feature however, the forehead line dotted with linear keloids. They are organized into tribes without political unity, under the supervision of the chief wan and worship a god named Gale through the cult rendered to the spirits of nature. Their statues generally represent the primordial ancestors Setu and his sister Nabo and are installed on altars for propitiatory ...

Ex-collection of French African tribal art. These conical-shaped masks come from the Nsukka region, but could be of Igala origin. The neighboring Igala indeed have comparable royal masks. This example with lateral fins offers striated patterns linked to the facial scarifications of the igala groups. The mask is topped with a bouquet of feathers. Oiled patina. Desiccation cracks, chips, indigenous restoration.
The Igbo live in the forest in the southeast of Nigeria. The village constitutes the largest social unit, the smallest being the extended family. Each village has a high degree of autonomy and is placed under the authority of the oldest lineage leader. The Igbo religion includes on the one hand the god Chuku, supreme creator, considered omnipotent, omniscient and omnipresent, ...

The sowei embody the aquatic spirits. This ancient African Mende mask is of the type called bundu associated with Bundu ritual initiations. These masks invariably present features concentrated in the lower area, overcoming folds of flesh which symbolize prosperity and health or the spirit emerging from the waters. On this rare version sits a female figure. Painted black or tinted using a leaf wash, the mask was then rubbed with palm oil. Localized abrasions, drying cracks, signs of use. The Mende, Vaï and Gola cultures of Sierra Leone, Liberia and the west coast of Guinea are known for their helmet masks, including those of the Sandé female initiation society which prepares young people girls at the wedding. These masks are made by men and worn by women.

During difficult discussions, dark-colored African masks punu were used. This type of vigilante mask danced during the ikwara dance. The face with gracefully proportioned features, topped with a single domed shell, has lips colored with pink ocher pigments. Matte dark patina, erosions and gaps.
Height on base: 46 cm.
The white masks of Gabon, itengi, (pl. bitengi) were associated with the different secret societies of Gabon, including the Bwiti, Bwete, and the Mwiri ("to lead"), the latter ranging in several levels of initiation, to which all Punu men belonged, and whose emblem was the caiman. The Punu did not use any mask in the Bwiti rituals, unlike the Tsogo. These powerful secret societies, which also had a judicial function, had several dances, including the leopard ...

Collection of African Tribal Art Claude Auge Dogon statuette anchored in a circular block. The arms are missing, isolating narrow shoulders. A hand remains on the thin bust marked with irregular reliefs. A crest underlines the head with erased features, a labret pointing discreetly at the level of the chin. A notch draws a female sex. In African art, this type of sculpture associated with an individual cult adorned the Dogon family altar. Grainy black patina. Abrasions.

Carved for the most part on order placed by a family, the Dogon statues can also be the object of worship on the part of the whole community. However, their functions remain little known. Alongside Islam, Dogon religious rites are organized around four main cults: the Lébé, relating to fertility, under the ...

Ex-collection of French African art.
African statues of lineage or clan leaders in the tribal art of the Mbede, Mbete, or Ambete.
This version of the reliquary is illustrated by the arrangement and rhythm of its colored planes and by the sober geometry of the facial features. The cult of onkani ancestors, among the Mbete, is surrounded by African figures such as this sculpture whose dorsal cavity conceals baby bird down and fragments of feathers. Matte patina, desiccation cracks, erosions.
The Mbete form a people of Gabon, on the border of Middle Congo, neighboring the Obamba and the Pounou, whose history has been marked by a long-term conflict against the Teke. They do not have a centralized political organization and practice ancestor worship.