Tribal Art

Mask named Nsembu , which performed in male-female pairs, it was used by the sorcerer's society Nkunda at the clans living in the north of the Uituri region. It is embellished with polychrome dotted, an allusion to the animal world, and the color pigments that adorn the bodies during the initiation rites. Patine mate. Height on suitable base: 41 cm.
The Kumu, Bakumu and Komo, live mainly in the North-East and central Areas of the Democratic Republic of Congo. Their Bantu language is komo or kikomo. Several ethnic groups are closely intertwined, with similar associations: the Mbole, the Yela, the Lengola, and the Metoko. Their artistic production also has great similarities with that of the Metoko and Lengola. Their divination masks were displayed during the closing ceremonies of the ...

Flat structure for this Lega mask pierced with tubular eyes. Invariably uncluttered, these traditional Lega masks indicated the stage reached by its holder within the Bwami, a learning society composed of different ranks, and joined by the wives whose spouse had reached the third level, that of the ngandu . Residual traces of kaolin on dark patien. Height on a base: 45 cm.
Belle clear patina, residual kaolin inlays with mica particles.

At the Lea, 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 17th century, the Lega settled on the west bank of the Lualaba River in the DRC. Also known as Warega, these individuals live in ...

This African mask is one of the stylistic variants of Gabon's white masks, itengi , (pl. bitengi) with surprisingly realistic features. In early art, this tribal mask from Gabon was associated with the various secret societies of Gabon, including the Bwiti , Bwete , and the Mwiri ("le"), the latter spreading into several levels of initiation, to which all the Punu men belonged, and whose emblem was the caiman. The punu did not involve any masks in the rituals of the Bwiti, unlike the Tsogo. These powerful secret societies, which also had a judicial function, included several dances, including the leopard dance, the Esomba, the Mukuyi, and the dance of the Okuyi, on stilts, remaining the most widespread. This kaolin-bleached face mask, reminiscent of a deceased woman, was displayed at the ...

Unusual structure for this African lega mask whose lower part extends flat. An exorbirity look, a protruding nose and mouth, decorative hatches, and a surface classically coated with kaolin. A long raffia beard completes the whole thing.
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 . Mask with beard: 41 cmAt legate, 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 the Lualaba River in the DRC. Also ...

Circular, convex mask, its surface is decorated with large colored grooves red burgundy and black. These large bands could correspond to the ritual paintings of the group. The discreet figuration, thanks to nicks, nose and mouth remains unusual. Grainy matte patina.
The Tetela and Yela groups are of Mongo origin and are neighbours. The sculpture of the Tetela takes various forms, borrowed from the clans they rub shoulders with, among which inspirations are reflected with polychrome works. 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 some stylistic borrowings. Their artistic production has great analogies with that of the Metoko and the Lengola. ...

A flat mask on which the forehead and nasal ridge form a pronounced relief, it 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. The dotted on its surface is encrusted with kaolin residue.
Hightop: 56 cm.

At the Lea, 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 17th century, the Lega settled on the west bank of the Lualaba River in the DRC. Also known as Warega, these individuals live in self-contained villages surrounded by palisades, usually on the top of hills. ...

This flat, circular mask was kept in a basket belonging to the secret society ekanga . His colorful engravings reflect the ritual body paintings or traditional scarifications. Very beautiful glossy gold patina, residual kaolin inlays. Height on a base: 50 cm.
The province of Lualaba had several close ethnic groups with similar associations. The Mbole and Yela are known for their statues, according to D. Biebuck, of the hanged, named ofika . The lilwa , an association with dogmatic initiation rites, had the custom of judging and sentencing those guilty of violations of the imposed rules to hang. These offences ranged from murder to adultery to breaking the secrecy surrounding the lilwa . Disgraced, the bodies of condemned men had no funerals and were buried in the forest. It was ...

White clay forms film residue on this tribal Lega mask with perforations on the forehead. This mask was supposed to indicate the rank to which its holder had accessed in the Bwami, a learning society composed of different ranks. Wives whose spouses had reached the third level, that of the ngandu, were then allowed to participate in the various initiation stages of society. Satin greyish brown patina, clear kaolin residue.
High on a base: 43 cm.
At the Lea, 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 17th century, the Lega settled on the west bank of the Lualaba River in the DRC. Also known as Warega, these individuals live in ...

Under a striated brow, high eye sockets contain two incisions for the eyes. The rib of the forehead extends over the straight nasal ridge. The mouth is marked with hatches indicating the teeth. The raffia beard is still present. Irregular surface, peeling crusty 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 were joined by wives whose spousehad reached the third level, that of the ngandu . Mask with beard: 41 cmWithin the Lega, 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 the ...

Among the most emblematic masks of African art, this sculpture stood out among the eleven types of dan masks (Fisher and Himmelheber) thanks to its eyes hollowed out in a circular way to allow better vision. These masks, named gunye ge "masques de course", oval-faced, slightly concave centre, were produced in the northern Dan and intended to compete in the race events. The zapkei intervenes to prevent the spread of domestic fires during dry seasons. Armed with a wand, they threaten careless women and confiscate an object as a fine. Some of these masks, the goge, with a particularly sophisticated braided headdress, were only exceptionally used. Base mask: 43 cmBlack patina with satin feel, grainy residual inlays at the top.
Piece from the vast collection of Jean Charles Mercier which ...

Scattered in the Kasai Basin, the Tetela of Mongo origin have been the source of unrelenting conflicts with their neighbours. They also played a great deal in the slave trade. Their very diverse sculpture is marked by the influence of groups living on their contact: in the North, their art was subject to the influence of forest populations such as the Mongo, to the northwest that of the Nkutschu, and to the west that of the Binji and Mputu. Kuba traditions were also a source of inspiration, as were songy traditions in the southwest. Their fetishes are kept out of sight. Animists, they seek to appease and direct the elements through the sorcerer Wichi and the priest Umpa. Their traditional currency of exchange, " dikonga", in the form of spearheads, has also helped to make known the talent ...

These long masks in fabric embroidered with pearls with very rich polychromy were worn by high-ranking members in society bamileke . The beaded embroidered fabric panels are topped with a basket-shaped tiara decorated with zoomorphic symbols with textile scantily.
, on the occasion of the funeral of some warriors, the wearer waved his ears and simulated the charge of the elephant, an animal that this mask symbolized.
In African art, the animal kingdom has a special place because of its ubiquitous physical proximity. Some animals have thus largely integrated the cosmogonies of many ethnic groups. The elephant is an obvious example of this and works that symbolize them are given royal virtues.
The Bamileke society had several initiation associations including the mwola and ...

This mask features a naja snake erected ayx dilated pupils. Polychrome orange patterns adorn each side in dark red, cream and dark grey brown. Desication cracks. Eroded base reinforced by a metal base. Very beautiful old room.
As african serpentiform initiation group used mainly by Bulongic (Kifinda village), subgroup Baga on Guinean coastline, its size can be up to 2.50 m. These masks were divided into two groups bearing the names Mosolo kombo and Sangaran , each with precise functions. Their design took shape in an esoteric context, at night in the forest. Privileges of initiated men, embodying a spiritual entity, the Baga Sangaran masks attended only circumcision, every 24 years according to the ethnologist Denise Paulme. During some dances the mask was placed on the head, ...

Cubist geometry for this Songola mask consisting of a flat face arrangement. Its structure is in the form of an inverted triangle front whose edge extends from a slightly curved angle. The latter indicates a nose joining the oblique lying base, the hollowed-out center of which evokes a mouth or even a snout. Reduced to the essentials, the circular openings of the eyes are simply dug into this mask coated with a thick layer of kaolin. Mixed by alliance with the Lega, Ngengele and Zimba, the Songola are ruled by the elders of the bloodlions. They borrowed from the Luba and Songye the Luhuna institution composed of dignitaries and that of the Bwami by their lega wives. The Songola live hunting and fishing, they engage in sculpture although the objects associated with the cult of Bwami come ...

Sober Lega mask of gentle regularity, its remarkably sain-like dark brown patina is unusual. Beneath the eyebrow arches engraved with losangic motifs, the space surrounding the eyes reveals weak granular residues of kaolin. The straight nasal ridge is also marked with geometric patterns. This African Lega mask is used during the initiation rites of the Bwami society. It is open to men and women. The passage of a rank indicated the acquisition of a certain individual wisdom and morality.
Height on solce: 42 cm.
In the Léga, 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 17th century, the Lega settled on the west bank of the ...

An actor of the social order, the Dan mask is, according to Eberhard Fisher, female or male. Consistent with the criteria of the women's masks gle mu , with an oval and regular face, ajar eyelids, a thin nose and a protruding and luscious mouth, this copy is accompanied by a goatee of vegetable fibres. This type of mask is worn by a dancer evolving with graceful gestures. Glossy dark brown patina, kaolin-surrounded look. For the Dan, or Yacouba, living in western Côte d'Ivoire and Liberia, the "d-" force that would animate the world would manifest itself in sculpted masks. It is in this way that she seeks to bring knowledge to man in order to support him, using the channel of dreams beforehand. The spirits then indicate how to name the mask they wish to see made. These masks of different ...

Ex-collection African tribal art Polargo USA 1955 - Mercier Belgium 1978.
This anthropomorphic figure of balanced proportions is depicted frontally, perched on a promontory whose base with holes allowed to fix the basketry and fabrics that concealed the dancer. The semi-flexed legs evoke the tribal dance mbobo of the girls during the ceremonies of the Ogbom , taking place in front of the altar at the end of periods of confinement. This danced ritual was dedicated to the deity of the earth named Ala in the Igbo , and Isong in the Ibibio. The masks were then kept near the chimney ducts of the huts in order to be protected from insects. Glossy dark patina, localized abrasions. Ex. Belgian collection Mercier.The Eket, established in southeastern Nigeria, are a subgroup of the Ibibio ...

Always finely sculpted, the African mask equipped with a voluminous braided headdress supported by a basket structure, and a woven raffia hood, illustrates the beauty of the young Tschokwe women. The hairstyle is reminiscent of the red earth-like hairstyle of the women of the clan.
Red brown patina, red ochre pigments on the headdress.
African masks Chokwe pwo among the many masks akishi or "akixi" (sing: mukishi , indicating power, are exclusively female representations that were accompanied by accessories and adornments. They were, however, carried by high-ranking men. Joined to their male counterparts, cihongo recognizable by their large plateau-shaped headdress, the pwo must bring fertility and prosperity to the community. The characteristic patterns on the forehead, and ...

Reduced version of the large heaume mask ecwabuka (big head) used during the tribal ritual of the male society Kalunga , Alunga , exercising social control over the clan, and responsible for public dances and ceremonies before the hunt. A hem mask embodying the god Alunga, it usually has four large and large concave orbits with a conical pupil in relief. Here he forms a stylized face framed by ears. These objects with apotropaic virtues were the property of every lodgemaster in society.
Satin dry patina. Localized abrasions, very beautiful patina. The Bembe is a Luba branch that is said to have left Congo in the 18th century. Their society and artistic tendency are influenced by their neighbours in the Lake Tanganyika region, the Lega, the Buyu, etc. Indeed, like the Lega, the Bembe ...

This Dan mask is a variation of the Deangle. The sunken gaze is enhanced here by a carved wolf encased in kaolin. The ajar lips protrude strongly. A grainy aggregate remains at the top on either side of a metal element. Smooth, sained skate. Dan masks, of varying size, usually occur during highly theatrical entertainment parties where women play a leading role. The so-called Mask, called Deanglé, defines an ideal of beauty and benevolence because it is carved in honour of the village's young girls or renowned men. Also used during circumcision rites, they appear in the company of the gle s and the large go ge masks relating to the go society, which exercises justice and maintains peace. In general, dan masks also have the peculiarity of being not representations of bush spirits but of ...

Ex-english african art collection
African crest mask composed of a large helmet whose summit brings together, supported by a serpentiform base, anthropomorphic sculptures and bird figures. The latter are often intended for ritual sacrifices and related to the mythological repertoire. These scenes also refer to wisdom proverbs known to the Yoruba. The faces of the characters, with protruding eyes and deep incisions on the face, are characteristic of the Yoruba style. Polychrome shades are attenuated by the matt ritual coating, the object of which is covered. A peculiarity in African art, the Gelede cult entered the contemporary heritage, based on ancestral traditions: UNESCO inscribed it in the ICH (Intangible Cultural Heritage of Humanity) in 2008.
Concerning the ceremonies of ...