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The achievements of African tribal art fascinated many European artists and collectors in the 20th century. From André Breton to Picasso, all were seized with a buying fever that quickly spread in the middle. If these sculptures are more of an artistic dimension for Westerners, it is nevertheless through their ritual sacralisation that they reveal themselves for the African peoples. Their ceremonial role confers on them a unique power that distinguishes them from other forms of ethnic art. These works were acquired (sold or offered by natives) throughout the twentieth century by ethnologists on mission or colonial cooperatives to be exhibited in museums, or integrated into prestigious private collections. This is the story of these pieces that we propose to discover through our gallery and our website.

Dogon Ceremonial Cup
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African art > African Statues > Dogon Cup

African art among the Dogon.
Frequent cavalier representations, in the African art of the Dogon of Mali, refer to their cosmogony and their complex religious myths. This is the case for this ceremonial cut with a lid on which the hermaphrodite rider holds his mount with a bridle veiling the animal's eyes. The object is entirely coated with a crusty sacrificial coating. Slight gaps and desication cracks. One of the Nommos, ancestors of men, resurrected by the creator god Amma, descended on the earth carried by an arch transformed into a horse. Moreover, the highest authority of the Dogon people, the religious leader named Hogon, was parading on his mount at his induction because, according to custom, he was not to set foot on the ground. In the area of the sangha cliffs, inaccessible ...

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Rider-patterned Kongo Yombé Sceptre
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African art > Commander stick > Kongo stick

Tribal statuette fitted with an abdominal cavity to receive a magical charge. The charge or bilongo consisted of various ingredients from the natural environment including red clay, red wood powder tukula, white clay pembe... , but possibly human fragments such as teeth, nails, hair. This fetish of conspiracy was supposed to influence the health, prosperity, enemies of its holder. The headdress is characteristic of the statuary Béembé and Yombé, other tribes of the group Kongo.Patine golden mahogany.
Chez the Kongo, the specialist named nganga , was in charge of the rituals by activating a spiritual force with a nkondi (pl. nkissi). The term nkisi was then used to refer to the terms 'sacred' or 'divine' These protective fetishes for homes are among the most popular in Africa. The ...

Double jarre Mangbetu
African art > African Jar > Vases Mangbetu

Named 'generous' in African art, these pottery are intended to collect palm wine. These jars with globular bodies, equipped with handles, have cephalomorphic gullies arranged face to face. The faces are marked by subtle differences suggesting a couple. Oiled patina, black and smooth, abrasions.
asebli in the forest in northeastern Zaire, the Mangbetu kingdom has expressed itself through architectural works that impressed European visitors in the 19th century. Their furniture, weapons, adornments and statuary were imbued with a rare aesthetic quality. The Mangbetu story was based on the refinement of his court but also on cannibalistic customs. King Mangbetu Munza was so dubbed The cannibal king. The body lines on the characters, like those of the face, include the traditional ...

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African art > African mask >

This African Fang mask forms one of the many variants of Ngil's Fang masks, a full-length volume in which high orbital cavities contain thin eye slits, a nasal appendage marked with parallel ribs and patterns engraved on the bleached surface. The bulging mouth, pigmented with pink ochre, is altered. Long cracks.
The appearance of these kaolin-coated masks (the white color evokes the power of ancestors), in the middle of the night, could cause dread. This type of mask was used by the men's society ngil which no longer exists today. This secret society was in charge of initiations and fought against witchcraft. The ngil was a purifying fire rite symbolized by the gorilla. The wearers of these masks, always in large numbers, appeared at night, lit by torches. Their intervention was ...

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Mangbetu ointment box
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African art > African Jar > Mangbetu Box

Ex-collection Belgian African art.
Boîte for honey, remedies and sometimes personal effects such as ivory hairpins, this anthropomorphic bark box once again illustrates the skill of African art sculptors among the Mangbetu. Made of bark, the box has clear residues on the internal walls. The object is equipped with a conveyor belt. The hairstyle of the statue is characteristic of that of the Mangbetu women: from an early age, the children suffered a compression of the cranial box by means of raffia ties. Later, the young women were knitting their hair on wicker strands and applied a headband to the forehead to extract the hair and produce this particular headdress that accentuates the lengthening of the head. The ancient names beli these figures of ancestors stored out of sight and ...

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Bamana zoomorphic mask
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African art > African mask > Bambara Mask

Among the different scales of the initiation of secret societies dyo, in the Bamana, the society Koré , which concerns the elders, is supposed to make the individual an accomplished man and prepares them for a simulacrum of death. The kore se also divides into eight learning classes, four of which have zoomorphic masks that often appear together. The fourth level of training is the kono , which has an elephant mask only performing in front of the initiates. Patine mate loclament abraded.
eals in central and southern Mali, in a savannah area, the Bambara, Bamana (c) or unbelievers, as the Muslims have named them, belong to the great Mande group, along with the Soninke and Malinke. Mostly farmers, but also herders, they make up the largest ethnic group in Mali. Animists, they believe ...

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Tabwa ceremonial spoon
African art > Spoon > Tabwa Spoon

The Tabwa ('scarifier' and 'write') are an ethnic group present in the south-east of the DRC, around Lake Tanganyika. The tribes of this region, such as the Tumbwe, worship the ancestors mipasi through sculptures held by chiefs or sorcerers.
Simples farmers without centralized power, the Tabwa united around tribal leaders after being influenced by the Luba. It was mainly during this period that their artistic current was expressed mainly through statues but also through masks. The Tabwa worshipped ancestors and dedicated some of their statues to them. Animists, their beliefs are rooted around ngulu, spirits of nature present in plants and rocks. Source: Treasures of Africa Ed. Tervuren Museum.

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Ndoma portrait mask of Baoulé / Yohoure
African art > African mask > Baule Mask

This African Mask Baoulé, known as the portrait mask or Ndoma , depicts an ovoid face topped with horns and figures associated with the calao. A collar highlights the contours of the face. These portraits of the Baoulé, ndoma, which are part of one of the oldest baoulé artistic traditions and frequently represent an idealized character, have the peculiarity of manifesting themselves at the end of the entertainment dance ceremonies. The latter are named, depending on the regions, bedwo, ngblo, mblo, adjussu, etc. Each of these masks are distinguished by the hairstyles, the location and the choice of scarifications. Hot brown patina, shiny, ochre residue.
They occur during danced events accompanied by music and songs, celebrations, visits to personalities, featuring various satirical ...

Figure of chef Chokwe Chibinda Ilunga
African art > African Statues > Statue Tschokwe

The sculpted effigy, against, glorifies the qualities of hunter, mythical hero and founder of the ethnic group, Chibinda Ilunga. The chef, with oversized palms and feet, has an impressive nobility headdress. Easily recognizable by this ample headdress with curved side fins (cipenya-mutwe), he had taught his people the art of hunting. This work stands out for its various details very finely chiseled. Originally, the patinas were obtained from the repeated application of castor oil and dyeing vegetable decoctions. Brown mahogany highlights highlight this Chokwe statue. Very good condition.
Paisiblely settled in eastern Angola until the 16th century, the Chokwé were then subjected to the Lunda empire from which they inherited a new hierarchical system and the sanctity of power. ...

Chef Chokwe effigy
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African art > African Statues > Chef Chokwe effigy

Chockwe in African art.
Sculpté in a piece of monoxyle wood, the character is here perched on a circular pedestal, knees half bent. The prominence of the abdomen is enhanced by amplified hands, as are feet with exaggerated volume, indicating its power. It bears the head adornment of the Chokwe aristocrats, high and elaborate, with curved side fins. Its high, bulging forehead, accentuated by shaving hair, was once an ideal of beauty among the Chokwe. On the other hand, the sculptor has particularly cared for the musculature of his subject, which the smooth and shiny brown patina also enhances.
Paisiblely settled in eastern Angola until the 16th century, the Chokwé were then subjected to the Lunda empire from which they inherited a new hierarchical system and the sanctity of ...

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Punu Okuyi Mask
African art > African mask > Punu Mask

This African Punu Okuyi mask features a double shell formed by braided and shaped hair. These hairstyles in various forms illustrate women's fashion during the 19th century in Gabon. This sculpture corresponds to the canons of Punu art with its frontal and temporal scarifications in diamond and checkerboard, mabinda. A collar also surrounds the entire face. The abraded white patina corresponds to the color of mourning, which establishes a link with the world of spirits and ancestors.
These masks were associated with the various secret societies of Gabon, including the Bwiti, Bwete, and the Mwiri ("le"), the latter spanning into several levels of initiation, to which all punu men belonged, and whose emblem was the caiman. The punu did not involve any masks in the rituals of the ...

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Masquette Hemba Sukumutu
African art > African mask > Hemba Mask

Mastering the sculpture with talent, the Hemba have mainly produced statues of ancestors singiti , embodying leaders, local warriors, or lineage ancestors that they venerate in order to appease mizimus spirits. A wide variety of ritual objects, fetishes, simian masks, gourds, and others of daily use have made their reputation. The pieces called soko mutu , suku muntu , (from Swahili," man's brother", and KiHemba, ibombo ya soho : "face de singe") belonged to the cult of ancestors and existed in two forms: on the one hand large masks used in ritual dances, and on the other hand, small masks or statuettes used as gifts, were hung in the boxes as protective amulets. These masks have recently been renamed mwisi gwa so'o , which expresses a concept that it is a chimpanzee spirit that would be ...

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Senoufo calao-patterned comb
African art > Usual african items > Senoufo comb

This comb is topped by a calao figure that is the primordial bird that is one of the five animals of the Cosmogony Senoufo, the first stage of the creation of Senoufo. Evoked for morphological and behavioural criteria, it emblematicly decorates, in its miniature version, many objects of African art senoufo.
Princile Farmers, the Senoufo Group lives in a savannah region that covers southern Mali and Burkina Faso, and northern Côte d'Ivoire. It encompasses about 50 sub-ethnic groups. SSenoufo speak a voltaic language Gur, Gour, like the Lobi and the Koulango. The councils of elders, led by an elected chief, administer the senoufo villages. Governed by matrilineal traditions, they are composed of clusters of dwellings named katiolo . Each of them has its own association Poro which ...

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Masque League
African art > African mask > Masque League

A slender shape and clean features for this Lega mask that was not worn in front of the face but arranged on a claie with other masks of different sizes, attached to the arm, the neck, or held by hand. The eyebrow arch is streaked with hatches associated with traditional scarifications. A long raffia beard accompanies this tribal mask. Clear patina, grainy kaolin residue. 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: 44 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 ...

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Doll Zaramo Mwana hiti
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African art > African Dolls > Poupée Zaramo

The Zaramo and the tribes around them have designed dolls generally associated with fertility, but to which other virtues would be attributed. Its primary role is played during the period of imprisonment of the young zaramo insider. The novice will behave with regard to the object as with a child, and will dance with him during the closing ceremonies of the initiation. If the young woman does not conceive, she will adopt the child. In the Zaramo, this sculpted motif is taken up at the top of the canes, decorates ritual objects and even appears on burial poles. The shape is recurrent, a stylized head, with a dobule or single crest, overcoming a tubular bust devoid of arms where the breasts and umbilical are indicated by a slight relief. The use of pearls is common in the ornamention of the ...

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Gouro Zaouli Mask
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African art > African mask > Gouro Zaouli Mask

African art Gouro.
Among the group of Mande of the south, in central Côte d'Ivoire, the Gouro have been using a family of African masks associated with the dance Zaouli since the 1950s. Like the Goli masks of the Baoulé, all Guro masks come in two zoomorphic masks followed by a third anthropomorph, which is considered the wife of the mask zamblé , the Gu . The Gu , whose function is apotropaic, represents a young woman with the criteria of beauty specific to Guro, especially facial scarifications and lime teeth. The zaouli incarnate a mature man with a beard represented by raffia cords attached to the lower perforations of the mask contours. The Zamblé, on the other hand, embodies a bush animal, usually an antelope. The forehead occupies three-quarters of the top volume of this ...

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380.00 € 280.00 ( -26.3 %)

Fugure Kongo Nkisi Nkondi
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African art > African Statues > African statue Kongo Nkondi

Among the Kongo, nganga took care of rituals by activating a spiritual force with a nkondi (pl. nkissi). The term nkisi was then used to refer to the terms of 'sacred' or 'divine'. The most influential category of 'minkisi kongo' consisted of instruments to help regional leaders enforce the law. A metal object was nailed to a wooden figure as soon as a decision was made, each nail evoking a particular case: litigants, divorce, conflicts between communities... The nkondi wanted to ensure that the agreement to resolve the conflict was properly implemented, and that individuals feared the consequences of their behaviour. Its appearance thus personified the force residing there. From the second half of the 20th century, minkondi minkisi were strategically placed along the coasts of the Loango ...

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Masque Chokwe Pwo
African art > African mask > Tchokwe Mask

An African mask that intervenes during the initiation ceremonies of the adult state, the mukanda , marking among other things the end of the special bond between a son and his mother. This copy devoid of accessories, symbol of the first ancestor, offers checkered keloids forming stripes on the cheeks. The mouth opens on lined teeth, a criterion of feminine beauty in the Chokwe. A large headband engraved with parallel lines demarcates the forehead. The asymmetry of the sculpture is noteworthy. The nose flags bear witness to the attention to detail. Erosions of the chocolate patina. Smooth, sainy surface. Peacefully settled in eastern Angola until the 16th century, the Chokwé were then subjected to the Lunda empire from which they inherited a new hierarchical system and the sanctity of ...

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Pende figurines
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African art > African Statues > Statuette Pendé

This figure of African art depicts a dancer from the masquerade Pende Minganji du Zaire, dressed in his full costume in raffia's harvest. Leon de Sousberghe identified two types of masks, the minganji associated with male society and mbuya masks related to the village, with some exceptions. The puppet, like the dancer, has a flexible and articulated body, fixed on a small cracked promontory.
Western Pende live on the banks of the Kwilu, while the Oriental have settled on the banks of the Kasai river downstream of Tshikapa. The influences of the neighbouring ethnic groups, Mbla, Suku, Wongo, Leele, Kuba and Salempasu, were imprinted on their large tribal art sculpture. Within this diversity the masks Mbuya , realistic, produced every ten years, take on a festive function, and embody ...

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Dan Zapkei Dan Zapkei s " Race Mask
African art > African mask > Masque Dan

For the Dan, or Yacuba, living in western Côte d'Ivoire and Liberia, the "d-" force that would animate the world would manifest itself in sculpted masks. This is how she seeks to bring knowledge to man in order to support him, and uses the channel of dreams beforehand. The spirits then indicate how to name the mask they wish to see made. These masks of different types are endowed with functions, social, spiritual and political, often evolving over time. Masks equipped with round orbits (gunye ge), facilitating vision, are part of all the masks of the northern Dan and are used for racing events during the dry season. The zapkei ge , also equipped with circular orbits, are responsible for preventing fires by watching over domestic fires. They are accessorized with hats, braids, textile ...

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Small snake mask Baga Bansonyi
African art > African mask > Snake Baga

Reduced size for this African mask evoking a naja snake with dilated pupils. Losangic motifs of a sober polychromy borrowed from natural tones adorn its surface. This ancient sculpture has been affected by storage conditions. Mate and velvety patina, locally altered surface. Desication cracks.
As african serpentiform initiation group used mainly by Bulongic (Kifinda village), a subgroup Baga on Guinean coastline, its size can be as large as 2.50 m. These masks were divided into two groups bearing the names Mosolo kombo and Sangaran , each with specific 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 ...

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