African Arts Gallery

Belgian collection of African art .
The pfemba or phemba maternity figures, symbols of the mythical ancestor, are associated with fertility cults. The child embodies the matrilineal transmission of power. The Yombe decorated their textiles, mats and loincloths, with patterns related to proverbs glorifying work and social unity. The patterns inscribed on the subject's bust echo the designs of the woven fabrics. Smooth two-tone mahogany/brown patina. Minor cracks and chips.
The Solongo cultures of Angola and Yombe were largely influenced by the Kongo kingdom, from which they borrowed naturalistic statuary and religious rites by means of sculpted fetishes nkondo nkisi.
The Yombe are established on the West African coast, in the southwest of the Republic of Congo and in ...

French collection of African art.
The Solongo cultures of Angola and Yombé were largely influenced by the Kongo kingdom from which they borrowed naturalistic statuary and religious rites, in particular by means of sculpted nkondo nkisi fetishes.
African statuette evoking the mythical ancestor which is linked to fertility cults. Shiny red-brown patina. Very slight abrasions. The Vili, the Lâri, the Sûndi, the Woyo, the Bembé, the Bwende, the Yombé and the Kôngo constituted the Kôngo group, led by the ntotela king. Their kingdom reached its peak in the 16th century with the trade in ivory, copper and the slave trade. With the same beliefs and traditions, they produced statuary with codified gestures in relation to their vision of the world.
Ref. : ...

Polychrome naturalist statue of the Yoruba type. Communication with the afterlife rested on a maternal figure who embodied for the Yoruba people one of the many female goddesses, the goddess of the earth Onilé ("owner of the House"), guarantor of longevity, peace, and resources, and linked to the powerful Ogboni society among the Yoruba Egba and Ijebu. She could also embody Orunmila, goddess of divination.
Intended to be enthroned on an altar, this type of sculpture was venerated by the members of the powerful Ogboni society, or Osugbo, responsible for justice.
Abraded crusty patina, desiccation cracks.
Centered on the veneration of its gods, or orisà, the Yoruba religion relies on artistic sculptures with coded messages (aroko). The kingdoms of Oyo and Ijebu arose ...

Ex-Belgian collection of African art A means of communicating with the spirits of the ancestors, this type of statue embodies the ancestor of the clan. Light brown matte patina.
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. Their kingdom reached its peak in the 16th century with the trade in ivory, copper and the slave trade. With the same beliefs and traditions, they produced statuary with codified gestures in line with their vision of the world. Belonging to the Kongo group, the Yombe are established on the west coast of Africa, in the southwest of the Republic of Congo and in Angola. Their statuary includes remarkable maternities.

French collection of African art .
The pfemba or phemba maternity figures, symbols of the mythical ancestor, are associated with fertility cults, the child embodying the matrilineal transmission of power. The Yombe decorated their textiles, mats and loincloths, with motifs related to proverbs glorifying work and social unity. Black patina, alterations and losses.
The Solongo cultures of Angola and Yombe were largely influenced by the Kongo kingdom from which they borrowed the naturalistic statuary and religious rites by means of sculpted fetishes nkondo nkisi.
The Yombe are established on the west coast of Africa, in the southwest of the Republic of Congo and in Angola. Their statuary includes remarkable maternities whose use remains little known.

Treated in a naturalistic way, this African statue would embody one of the many female goddesses, like the goddess of the earth Onilé ("owner of the House"), guarantor of the longevity, peace, and resources, and linked to the powerful Ogboni society among the Yoruba Egba and Ijebu, or Orunmila, goddess of divination.
Intended to be enthroned on an altar, it was venerated by members of the powerful Ogboni, or Osugbo, society responsible for justice.
Thick partially chipped patina. Traces of colored pigments. erosions.

The kingdoms of Oyo and Ijebu arose following the disappearance of the Ifé civilization and are still the basis of the political structure of the Yoruba . Centered on the veneration of its gods, or orisà, the Yoruba religion relies on ...

This African art statue of the Dogon type, carved from dense wood, embodies an ancestor. This work comes from the south-east of Mali (former Mali Empire) where the Samos, a Mandingo people descended from the Malinké, live. Matte, flaky, beige-grey patina with blackish incrustations. Desiccation cracks. Breaks at the height of a child's arms.

These statues, sometimes embodying the nyama of the deceased, are placed on ancestor altars and participate in various rituals including those of the sowing and harvest periods.
According to Dogon cosmogony, the first primordial ancestors of Dogon, called Nommo, were the bisexual gods of water. They were created in the sky by the creator god Amma and descended from heaven to earth in an ark.
The Nommo are said to have founded the ...

African motherhood depicting a character carrying a child. The eyes are encrusted with pearls while large ears frame a neutral countenance. Rough patina, residual ocher encrustations.
This piece of tribal art comes from the northeastern region of Tanzania, bordering Kenya, facing the Indian Ocean, where the Paré, Shamba, Zigua, and Mbugu tribes live. A relative homogeneity characterizes the productions of these groups, recalling some of the Madagascans and Bataks with whom, via maritime trade, contact could once have been established. This sculpture was probably used for didactic purposes during male initiations. She could also embody an ancestor or a spirit. Lit. : "Black African Tribal Art" J.B. Bacquart.

French Collection of African Art Sitting on a stool, this African statue belongs to a Gwan fertility cult associated with the Djo, or Do, widespread in central Mali. Long called "Queen", this type of statue participated every seven years in ceremonies during which they were presented to childless women. The latter washed the sculptures and then anointed them with shea butter.
Ritual grainy patina, desiccation cracks. The Bambara of central and southern Mali belong to the large Mande group, like the Soninke and the Malinke. They believe in the existence of a creator god generically called Ngala who maintains the order of the universe. His existence coexists with another androgynous god called Faro, who gave all the qualities to men and who makes the fruits of the earth ...

Former Belgian collection of African art A medium for communicating with the spirits of ancestors, this type of statue often represented the ancestor of the clan. Red-brown oiled patina.
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 . Their kingdom reached its peak in the 16th century with the trade in ivory, copper and the slave trade. With the same beliefs and traditions, they produced statuary with codified gestures in relation to their vision of the world. Belonging to the Kongo group, the Yombe are established on the west coast of Africa, in the southwest of the Republic of Congo and in Angola. Their statuary includes remarkable maternities.

African motherhood naturalist of the Yoruba type. Communication with the afterlife was based on a maternal figure embodying for the Yoruba people one of the many female goddesses, the earth goddess Onilé ("owner of the House"), guarantor of longevity, peace, and resources, and linked to the powerful Ogboni society among theYoruba Egba and Ijebu. She could also embody Orunmila, goddess of divination.
Smooth mahogany patina, erosions and drying cracks.
Centered on the veneration of its gods, or orisà, the Yoruba religion is based on artistic sculptures with coded messages (aroko). The kingdoms of Oyo and Ijebu were born following the disappearance of the Ifé civilization and are still the basis of the political structure of the Yoruba . The Oyo created two cults centered on the ...

Ex-French collection of African tribal art.
Probably the incarnation of a female goddess, this type of statue was kept on the bo osu altar where sacrifices were made to the spirits. Desiccation crack (base). Speckled grainy patina.
Around sixty ethnic groups populate Ivory Coast, including the Baoulé, in the center, Akans from Ghana, a people of the savannah, practicing hunting and agriculture just like the Gouro from whose cults and masks they borrowed. During the 18th century, united under a single banner, these Akan people were, according to legend, guided by Queen Aba Pokou to the region of gold mines in the east of Côte d'Ivoire to settle there. . The Waka-Sona statues, "being of wood" in Baoulé, evoke an assié oussou, being of the earth. They are part of a type of ...

The pfemba or phemba maternity figures, symbols of the mythical ancestor, are probably associated with fertility cults. The child would embody the matrilineal transmission of power. The subject's pupils are associated with clairvoyance. The Yombe decorated their textiles, mats and loincloths, with motifs related to proverbs glorifying work and social unity. Glossy black patina.
The Solongo cultures of Angola and Yombé were largely influenced by the Kongo kingdom from which they borrowed naturalistic statuary and religious rites by means of sculpted nkondo nkisi fetishes.
The Yombe are established on the west African coast, in the southwest of the Republic of Congo and in Angola. Their statuary includes remarkable maternity wards whose use remains little known.

Symbol of the mythical African ancestor likely associated with fertility cults, this figure of a woman wearing a miter features scarifications on the shoulders. These cuts, made with needles, knives and razors, were then coated with charcoal or ashes to accelerate healing and form salient patterns. The Yombe also adorned their textiles, mats and loincloths, with lozenges related to proverbs glorifying work and social unity. The infant would embody the matrilineal transmission of power.
Dark satin patina.
In the 13th century, the Kongo people, led by their king Ne Kongo, settled in a region at the crossroads of the borders between the current DRC, Angola and Gabon.
Clan of the Kongo group, the Yombe are established on the west coast of Africa, in the south-west of the ...

br>Tribal sculpture of the Kongo clans, female statue embodying the ancestor of the clan, mediating figure. The eyes are glazed, emphasizing the grandmother's ability to perceive the beyond, to discern hidden things. This type of statuette also adorned the top of prestigious canes, mwala. Shiny black patina, resinous drips. Belonging to the Kongo group, the Yombe are established on the west African coast, in the southwest of the Republic of Congo and in Angola. Their statuary includes remarkable maternity wards. Among the Kongo, the nganga was responsible for rituals by activating a spiritual force with a nkondi (pl. nkissi). The term nkisi was then used to designate the notions of “sacred” or “divine”. The most influential category of "minkisi kongo" consisted of instruments intended to ...

Ex-French collection African tribal art .
Statue depicting a young woman breastfeeding her child. The keloid scars, strings of pearls, and sophisticated hairstyle indicate her status. These statues were kept on the bo osu altar where sacrifices were made to the spirits. Chipped grainy patina.
Two types of statues are produced by the baoulé in the ritual context: The Waka-Sona statues, "being of wood" in Baoulé, evoke an assié oussou, being of the earth. They are part of a type of statue intended to be used as a medium tool by the komien diviners, the latter being selected by the asye usu spirits in order to communicate revelations from the beyond. Around sixty ethnic groups populate Ivory Coast, including the Baoulé, in the center, Akans from Ghana, a people of the ...

The statues of the Kongo clans of the northeast of Mayombe.
The small Kunyi group, surrounded by the Beembe, Yombe and Lumbu in the Democratic Republic of Congo, is renowned in African art for its sculptures embodying founding ancestors, notables or clan leaders, many of them being represented kneeling. Some Lumbu statues are hollowed out in order to receive ancestral relics or symbolic ingredients. This figurative female figure wears diamond-shaped keloids. Abraded kaolin patina, desiccation cracks and erosions.

French collection of African art. African sculpture depicting subjects very skilled in acrobatics. The Vili produced a variety of sculptures for individual use nkisi, to which multiple virtues were attributed, and anecdotal statues such as this example symbolizing an ancestor of the clan.
Glossy patina, matte blackened areas, restorations. 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 . Their kingdom reached its peak in the 16th century with the trade in ivory, copper and the slave trade. With the same beliefs and traditions, they produced statuary with codified gestures in relation to their vision of the world. Present along the Gabonese coast, the Vili broke away from the Kongo kingdom ...

Among the regalia of the chiefs, this type of African Kongo maternity embodies, according to the scarifications of the bust, the ancestor of the clan, a mediating figure. The child would embody the matrilineal transmission of power.
The Yombe adorned their textiles, mats and loincloths, with lozenges related to proverbs glorifying work and social unity. The mouth reveals filed teeth, the gaze indicates the grandmother's ability to discern occult things. The use of this type of sculpture remains unknown. They frequently formed the carved pattern at the top of chiefs' canes. Satin patina. Cracks, erosions.
A clan of the Kongo group, the Yombe are established on the west coast of Africa, in the south-west of the Republic of Congo and in Angola. Their statuary includes ...

Ex-collection Italian African tribal art.

Tribal sculpture Kongo depicting a woman sitting cross-legged, supporting a child. She embodies the ancestor of the clan, a mediating figure. The Yombe adorned their textiles, mats and loincloths, with diamond patterns related to proverbs glorifying work and social unity, such as those that dot her bust. The mouth shows traditionally filed teeth and the gaze indicates the ancestor's ability to perceive the beyond, to discern hidden things. This type of statuette also adorned the top of the canes of prestige, mwala. Golden brown satin patina. Cracks and abrasions. Belonging to the group Kongo , the Yombe are established on the West African coast, in the southwest of the Republic of Congo and Angola. Their statuary includes ...

Belgian private collection of African art Jan Putteneers.

Seated female representations from Côte d'Ivoire and Ghana are usually queens. A particularity of this piece is that this woman is carrying her child in her arms.
This one is removable like the stool. The latter with a curved seat is typical of the akan.
seats. The patina is clear and slightly worn in places.
The features of the face are marked with black color giving a realistic look, breathing life into the large black pupils.

The Akan people are subdivided into several famous subgroups spread near the coast in Ivory Coast and Ghana, having become rich through the trade of precious metals and slaves during contacts with Westerners and in particular the Portuguese who were the ...