Tribal Art

Ex. Mercier African art collection.
A flat volume on which large concave orbits have been carved with incised almond-shaped eyelids, constitutes this African tribal mask of the Bembe. The frightened owl would have inspired these zoomorphic characters. These masks accompanied the rituals of passage during the Bwami's circumcision ceremonies. This very ancient mask is distinguished by its exceptional inlaid patina, formed of locally abraded granular underlayers. Height on base: 53 cm.
The Bembe ethnic group is a branch of the Luba that left the Congo in the 18th century to settle near Tanzania and Burundi. Their society and artistic tendencies are marked by the influence of their neighboring ethnic groups in the region of Lake Tanganyika, the Lega, the Buyu, etc.. Indeed, ...

The surface of this African mask features wide bands of contrasting colors. The bridge of the nose extends towards the head of a sagittal ridge. Like a beak, the parallelepiped mouth protrudes. Height on base: 63 cm.
 Three types of Kifwebe African art masks are listed: the masculine (kilume) generally with a high peak, the feminine (kikashi) would present a more modest peak or even absent, and finally the largest embodying power (kia ndoshi). In the sixteenth century, the Songyes migrated from the Shaba region to settle on the left bank of the Lualaba River. Their society is organized in a patriarchal way. Their history is inseparable from that of the Luba to whom they are related through common ancestors. The Songyes have created impressive statues with powerful features ...

Purity of form for this long mask divided into colored planes. The Quai Branly museum has a similar example. This type of mask igbo-ada appears during the dry season in order to highlight notions of virility. Matte polychrome patina, erosions.
The Igbo are established in the southern Niger Delta region of Nigeria. The Ada form an Igbo subgroup established in southeastern Nigeria. They have managed to combine a strong sense of individuality with an equally strong sense of belonging to the group. Their political system is complex and little known. The village is 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 head of lineage. The religion of the Igbo includes the god ...

African mask from Tanzania, associated with the danced ceremonies of the dry season, whose broad forehead is streaked with a median scarification and a double eyebrow arch under which the circular, hollowed-out eyes are very close together. The thick nose overhangs a mouth filled with wooden sticks depicting the teeth. Granular matte patina with traces of light pigments.
In the southern coastal region of Tanzania, around Dar-es-Salam, a relatively homogenous group has produced most of the artistic output. It includes the Swahili, Kaguru, Doé, Kwéré, Luguru, Zaramo, Kami. The second region consists of a territory covering the south of Tanzania to Mozambique, where some Makonde and the Yao, Ngindo, Mwera, and Makua live. In northeastern Tanzania, the Chaga, Paré, Chamba, Zigua, ...

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A very sophisticated braided hairstyle, extended in braids to frame the kaolin-coated face of this punu mask. Delicately traced eyebrows highlighting the bulbous, half-closed eyelids, and prominent lips raised with red ochre make up a serene physiognomy. Cracks of desiccation, internal marks of use.
The white masks of Gabon, itengi, (pl. bitengi) were associated with the various secret societies of Gabon, including the Bwiti, Bwete, and the Mwiri ("to lead"), the latter being spread over several levels of initiation, to which all Punu men belonged, and whose emblem was the caiman (hence, for some, the saurian scaled pattern). The Punu did not use masks in Bwiti rituals, unlike the Tsogo. This object, evocative of a dead young woman, was displayed during the dance ...

Ex-Belgian African art collection.
Volumineux African mask of the Baoulé ethnic group, of the mask-portrait type, three braided shells form his hairstyle. The eyebrow arch, whose center is the sign ngole joins an edge of the flat nose, and an oval mouth revealing a symmetrical dentition. Small growths, one of which is missing, crown the forehead, in relation to the scarifications. Keloids form patterns on the temples, highlighted by reduced ears. Carved from a particularly dense wood, this piece of tribal art has been encased in white kaolin, with inlays remaining visible. Grainy brown-black patina, satin contours, desication crack. Acquired by Guy Mercier, consultant for the Solvay Group, who began to collect a vast collection of African tribal art at the beginning of the 20th ...

The Ekiti of the eastern part of the yoruba region use polychrome heaume masks illustrating the prosperity of the community. Our copy is surmounted by a male figure leaning on sceptres carved with human motifs. These subjects are associated with the various gods of the Yoruba pantheon. These masks, which are painted by their owners, are released every two years. Despite the weight of the masks, the dancers perform spectacular acrobatic demonstrations. These ceremonies are also supposed to increase fertility. Crusty polychrome patina. The Yoruba, more than 20 million, occupy the southwestern part of Nigeria and the central and southeastern part of Benin under the name of Nago. They are patrilineal and practice excision and circumcision. The kingdoms of Oyo and Ijebu were born ...

African art, minimalist sobriety
An abstract figuration of a face, this mask of flat structure is pierced with long parallel incisions for the dancer's vision. Without a mouth but with a flat nose pierced with nostrils, it also bears horizontal marks suggesting scarification. An old kaolin patina remains locally inlaid.
Several ethnic groups divided into lineages live closely intertwined in central Zaire: the Mbole, Yela, Lengola, and Metoko, and have similar associations. This proximity has generated certain stylistic borrowings. Indeed, their artistic production presents great analogies with that of the Metoko and Lengola. Their divination masks were exhibited during the closing ceremonies of initiation and circumcision of the youth of the divination society nkunda , ...

Ex-collection Belgian African tribal art.
This ancient African Yoruba Gelede mask forms a crest that was worn on the top of the head. His face has a rounded shape with expressive features and is animated by large almond-shaped eyes with pierced pupils. The relief treatment of the upper eyelids, bordered with black pigment to create a thick fringe of lashes, lend an almost hypnotic femininity to the eyes. Velvety patina of use, old cracked polychromy, prints of xylophages. Crack on one side. The Gelede cult has become a contemporary heritage, based on ancestral traditions: the Unesco has included it in the PCI (Intangible Cultural Heritage of Humanity) in 2008.
Concerning the ceremonies of the ...

Spectacular by its conical pupils, the mask we present is of a classic type among Kete masks, with a geometric decoration, diamonds and stripes composed of contrasting natural pigments, ochre earth and white clay. The punctures under the eyes allowed the wearer's vision. The abraded patina, locally sained, and the internal footprints show frequent use.
The Kete, established between the Luba and songye, mingled with the Kuba and Tschokwe and derive their livelihood from hunting, net fishing, and agriculture. Their matrilineal society worships spirits named mungitchi by offerings and incantations. Believing in reincarnation, they also fear a supreme god called mboom. The rituals of their initiation societies are different from those of the Kuba. Some Kete villages once paid a tax to ...

deformity in tribal art. The masks of disease Pende Mbangu illustrates, by their distorted features, the patient in an epileptic seizure or the result of facial paralysis caused by witchcraft rituals. In many tribal cultures, however, epilepsy would be perceived as a divine seal on an individual capable of communicating in this way with the spiritual world. The dancer wearing this comedy mask is wearing a feather hat gifuatu guinea fowl, coucal or touraco, or lumbandu, a crown of leaves. It is also often equipped with a bump on the back, exaggerating the handicapped aspect of the character. A hat consisting of a basket frame lined with raffia caps the face, itself lined with canvas. Patine mate. Height on a base: 36cm. The Western Pende live on the banks of the Kwilu, while the Easterners ...

Ex-collection of French African tribal art.

The geometrical patterns on this Mossi crocodile mask are enhanced by an ancient polychrome patina. The black patina was originally obtained from charcoal and gum tree husks. The holder of the mask and his family worshipped the object with offerings such as millet beer and invoked its protection. The mask was worn at a slight angle on the forehead. Heterogeneous matte granular patina.

Mossi masks, personal or lineage, are an embodiment of guardian spirits offering their support. They occur at burials, at the funerals of clan chiefs, protect crops. True altars without their costume, they can receive libations such as millet beer to honor the ancestors. Their appearance is now frequent during entertainment shows. Upper Volta, ...

Lega primitive sculptures in African art. Huge eyeballs occupy three-quarters of the face of this mask, bringing together the nose at the raised tip, and the thin incision of the mouth in the lower part similar to a snout. Pure forms and inventiveness are the watchwords for this ancient and charming Lega mask. Locally abraded smooth patina.
This African Lega mask indicated the stage that its holder had reached within the Bwami, a learning society composed of different ranks, and which was joined by the wives whose spouse had reached the third level, that of the ngandu . Within the Lea, the society of the Bwami open to men and women, organized social and political life. There were up to seven levels of initiation, each associated with emblems. Following their exodus from Uganda in ...

The African art of the Wé people and its African warrior masks
Various excrescences compose this mask whose upholstery nails raise the dark patina. The forehead evokes a warrior's helmet, typical of these masks supposed to cause fear. It is mainly in the west of the Ivory Coast that the Bété use masks whose style was influenced by the society of the gla glazed populations Wobé and Guéré , group called Wé or "the men who forgive easily", itself belonging to the cultural group Krou , these traditions having been transmitted and taught to them by the Nyabwa . Height on pedestal : 42 cm.
Of warrior origin but also involved in conflict resolution, this sacred mask is worn with amulets that protect its wearer from its power against witchcraft. These masks are made ...

This Dogon "healing" mask was collected in the 1960s by a collector, Mr. Arnaud, accompanying Alain Bilot during study stays in Mali. Topped with figurines associated with Dogon mythology, the head is also fitted out with a small "altar" cavity in which libatory residues remain. The healer mask evolves in a satirical pantomime, as does the hunter mask, evoking the legend that the first ancestor tried to cure the walu antelope before it died. Beautiful matte polychromy, crusty residue clumped at the top.
Marcel Griaule counted no less than 78 types of Dogon masks during his field investigations. This piece, with its stylized features, is characteristic of Dogon creations. The latter, ...

Minimalism of Lega tribal masks.

ovoid body in which a heart-shaped face, soberly cut from the eyes and mouth and divided with a straight nose, is written. The light wood, haloed, retains particles encrusted with white clay, where mica shines. This sculpted work indicated the stage that its holder had reached within the Bwami, a learning society composed of different grades, and which was joined by the wives whose spouse had reached the third level, that of the ngandu. Beautiful patina of abraded use, mate.
At the Lea, the society of the Bwami open to men and women, organized social and political life. There were up to seven levels of initiation, each associated with emblems. Following their exodus from Uganda in the 17th century, the Lega settled on the west bank of ...

African art among the Songyes.
Named Kifwebe or 'wood mask', (plural Bifwebe), the same type of which was produced by both the Luba and the Songye, this tribal mask imposes by its masterful dimensions. The term Kifwebe refers to the mask, the society of masks, and the wearer of the mask belonging to the secret male society bwadi bwa kifwebe . There are three variants: the masculine (kilume) usually with a high crest, the feminine (kikashi) with a very low crest or absent, and finally the largest embodying power (kia ndoshi). This mask comes from a three-generational Belgian collection, acquired in various international galleries and during the professional travels of G. Mercier, consultant for the Solvay group, who died in the 1980s. Exceptional patina, internal traces of use.

The lega lukungu masks, such as this one made of a turtle shell, were worn on the arm. The surface has a "circle point" pattern. A beard made of vegetable fibers accompanies them. The turtle, for the Lega, evokes wisdom and prudence derived from experience. This mask was reserved for initiates of high rank, that of the kindi, one of the different ranks of the Bwami. At the death of the initiate, the mask was placed on his grave and then passed on to his nephew. Hanging link at the top
. ("Art of the Lega" E.L.Cameron).
Within the Lega, the Bwami society, open to men and women, organized social and political life. There were up to seven levels of initiation, each associated with emblems. Following their exodus from Uganda in the seventeenth century, the Lega settled on ...

The Gelede in African art. In Nigeria, also in Benin, this African mask in the form of a janiform heame is accompanied by its suit in cotton fabric and colorful velvet. It is used for gelede society's rejoicing dances, and for the funeral of its followers. These masks occur in pairs, each with a specific name. A stage composed of figures of musicians and acrobats rests on the hem endowed with a dazzling polychromy and traditional Yoruba ethnic scarifications. Excellent condition. Patine mate.
The Gelede country in Nigeria pays tribute to the mothers, especially the oldest of them, whose powers would be comparable to those of the Yoruba gods, or orisa, and the ancestors, osi and who can be used for the benefit but also for the misfortune of society. In the latter case these women ...

Although characteristic of the Mbagani, Babindji, the oversized sockets coated with kaolin stretch to the contours of the mask. The triangular nose, the projection volumes of the mouth and curved chin also form distinctive elements of the Mbagani , from the group Mpasu now extinct, and itself a subgroup of Lulua, or Béna Lulua, and of which also the Salampasu . They form the Ding a group of 50,000 individuals established in R.D.C. near the Angolan border. They were marked by the influence of their neighbours Lunda and former occupiers Tchokwé . Organized into small independent chiefdoms, they mainly grow maize, with women embroidering textiles woven by men. Masks would be associated with healing rites. Glossy dark patina and thick layer of locally abraded kaolin. (Black African Tribal ...

Initiation rituals and tribal art Ngbaka

Tribu installed on the left bank of the Ubangui, the Ngbaka practice agriculture, and their artistic achievements were inspired by those of the neighboring tribes Ngbandi and Ngombe, with a distinctive feature, however, the front line dotted with linear chéloids. They are organized into tribes without political unity, under the tutelage of Chief wan and worship a god named Gal through worship of the spirits of nature. Young people are prepared for adult life through named rituals gaza- and trained by former insiders, bugaza. Their statues usually represent the primordial ancestors Setu and his sister Nabo and are installed on altars for propitiatory rites. The Ngbaka also produced musical instruments that punctuated the closing ...