African Arts Gallery

Used as an amulet credited with apotropaic virtues, this small bronze sculpture constitutes, for the Sao, a talisman worn permanently, supposed to protect them from madness. The genius who possesses the madman is represented by the rider, the horse representing the victim. This horseman wearing a cheche rides an equine which was a rare attribute of prestige in these regions of the Sahel.
The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area extending over the borders between Chad, northern Cameroon and Nigeria. They established themselves on hills, which enabled them to repel invaders. Subjected to successive attacks from their neighbors in Kanem and then to hordes from the East, the Sao had to abandon their lands to settle ...

Used as an amulet credited with apotropaic virtues, this small bronze sculpture constitutes, for the Sao, a talisman supposed to protect them from madness. It is therefore worn permanently. The genius who possesses the madman is represented by the rider, the horse representing the victim. This horseman wearing a cheche rides an equine which was a rare attribute of prestige in these regions of the Sahel.
The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area extending over the borders between Chad, northern Cameroon and Nigeria. They established themselves on hills, which enabled them to repel invaders. Subjected to successive attacks from their neighbors in Kanem and then to hordes from the East, the Sao had to abandon their ...

This late African bronze of the Benin type, made from a work that was created on the death of the queen, depicts a queen mother of Benin named the Iyoba, whose the neck is surrounded by multiple necklaces of coral beads. Her high curved hairstyle was also made up of a mesh of pearls falling on either side of the face. Black patina, abrasions.
After the birth of the future king, the queen was "removed" from power and could no longer father. But at the end of the 15th century the Oba Esigie refused to conform to this practice and wanted to attribute the city of Uselu to his mother. She also received a palace and many privileges. In recognition she raised an army to go and fight the Igala of the North. The Oba cast a head in his effigy, among many works cast in lost wax, to place them ...

This bronze figurine, with prominent features, was worn as a pendant around the neck by members of the Ogboni society. It was usually accompanied, connected by a chain, by a similar figure of the opposite sex, forming the Edan . Greenish-brown crusty patina, rusty inlays.
The Ogboni/Ogoni people are spread over a small area of the Gulf of Guinea, east of the city of Port Harcourt in Nigeria. Like other peoples in the Gulf of Guinea, the Ogonis have an internal political structure run by leaders. They are among the peoples who escaped the black trade during the slave era thanks to relative geographical isolation.

The secret society Ogboni or Oshugbo is one of the most famous religious societies that worship the Owner of the Earth, Onilè , and it is still powerful today. ...

The African art of Benin, a court art closely associated with King Oba, dates back to the 14th century. The many bronze alloy heads and statues created by the artists of Benin were reserved for the exclusive use of the inhabitants of the royal palace and, more often than not, placed on altars consecrated by each new Oba. This late sculpture, reminiscent of those made when the queen died, features a queen mother of Benin named the Iyoba, whose neck is encircled with multiple necklaces of coral beads. Her high headdress was also made of a mesh of pearls falling on either side of her face. After the birth of the future king, the queen was "removed" from power and could no longer father. But at the end of the 15th century the Oba Esigie refused to conform to this practice and wanted to ...

It represents the Oni, king of Ifé city cradle of the Yorubas, with its crown on its head, a cone overlooking it. Today, the king of Ifé wears a similar function badge, formed of a vertical segment braided and finished at the top by a sharp bulge. Such a head was attached to the top of a wooden effigy, dressed, to represent the late king at the funeral, and then buried after the ceremony in a shrine near the palace.
The city of Ife in Nigeria was in the 15th century the centre of a powerful forest state in the western Niger Delta. The work of bronze was a prerogative of the king,'s time, according to the technique of lost wax. These prestigious objects embodying the sovereigns were placed on the royal altars for ceremonial use. It is said to be a craftsman of Ilé-Ifé who would have ...

Figurine of a woman seated on heels. This statuette is made of gilded metal, the surface coated with dark oily deposits, probably for ritual purposes, has rough edges.
Dogon blacksmiths form an endogamous caste among the Dogon called irim. They now produce weapons, tools, and also work with wood. "Masters of fire" associated in the Dogon cosmogony with the primordial beings "Nommo" created by the god Ama, they are also supposed to heal burns. Small metal objects, made using the lost-wax technique, were widespread in the Inner Niger Delta region, with copper reaching it through trans-Saharan trade. Excavations on the Bandiagara plateau have in fact brought to light vestiges of iron and steel sites prior to the 15th century, the date of the arrival of the Dogon. The Nommo, ...

Late type sculpture in benign type bronze alloy, depicting a king or "oba", dressed in his royal tunic, and brandishing the ceremonial sword "eben".
Grainy oxidized patina.
Before the destruction of the palace of the kingdom of Benin in 1897, the divine character of the kings, the Oba, was illustrated by multiple works celebrating their power. War scenes were reproduced on narrative plaques, in bronze, and affixed to the walls. Sumptuous bronze altars, commemorative figures of deceased chiefs, heavy bracelets, anklets and recades were produced in quantity in many foundry workshops using the lost wax casting technique. The numerous brass heads and statues created by the artists of Benin were reserved for the exclusive use of the inhabitants of the royal palace and, more often ...

Small anecdotal statuette describing a character carrying an ax and a bundle of wood. This statuette with many details is coated with a black patina encrusted with clear deposits.
Dogon blacksmiths form an endogamous caste among the Dogon called irim. They now produce weapons, tools, and also work with wood. "Masters of fire" associated in the Dogon cosmogony with the primordial beings "Nommo" created by the god Ama, they are also supposed to heal burns. Small metal objects, made using the lost-wax technique, were widespread in the Inner Niger Delta region, with copper reaching it through trans-Saharan trade. Excavations on the Bandiagara plateau have in fact brought to light vestiges of iron and steel sites prior to the 15th century, the date of the arrival of the Dogon. The ...

Ankle ring used as an amulet, whose decorative motifs, referring to Lobi beliefs, were supposed to protect the wearer. Numerous rings were produced in the southwest of Burkina Faso, also having value as money. Height on base: 18 cm. The populations of the same cultural region, grouped together under the name "Lobi", form one fifth of the inhabitants of Burkina Faso. Although they are not very numerous in Ghana, they have also established themselves in the north of the Ivory Coast. It was at the end of the 18th century that the Lobi, coming from northern Ghana, settled among the indigenous Thuna and Puguli, the Dagara, the Dian, the Gan and the Birifor. The Lobi believe in a creator God named Thangba Thu, to whom they turn through the worship of numerous intermediate spirits, the ...

The African art of Benin, a court art closely associated with King Oba, dates back to the 14th century. The many bronze alloy heads and statues created by the artists of Benin were reserved for the exclusive use of the inhabitants of the royal palace and, more often than not, placed on altars consecrated by each new Oba. This late sculpture, reminiscent of those made when the queen died, features a queen mother of Benin named the Iyoba, whose neck is encircled with multiple necklaces of coral beads. Her high hairstyle was also made up of a mesh of pearls falling on either side of her face. After the birth of the future king, the queen was "removed" from power and could no longer father. But at the end of the 15th century the Oba Esigie refused to conform to this practice and wanted to ...

Ex-Belgian African art collection
Slender character wearing a traditional hairstyle, a necklace-talisman, and a cache-sex. Beautiful velvety khaki gray patina.
The populations of the same cultural region, grouped together under the name "lobi", form a fifth of the inhabitants of Burkina Faso. Few in number in Ghana, they have also settled in the north of Côte d'Ivoire. It was at the end of the 18th century that the Lobi, coming from North Ghana, established themselves among the indigenous Thuna and Puguli, the Dagara, the Dian, the Gan and the Birifor. The Lobi believe in a Creator God named Thangba Thu, whom they address through the worship of many intermediary spirits, the Thil, these the latter being supposed to protect them, with the help of the diviner, against a host of ...

African Dogon art
These haughty African sculptures embody the primordial couple Nommos at the origin of creation among the Dogon of Mali. Evoking the sculptures of Giacometti, these bronze statues with slender bodies are punctuated by a succession of notches. Light brown patina. The Dogon are a people renowned for their cosmogony, their esotericism, their myths and legends. Their population is estimated at around 300,000 souls living in the south-west of the Niger loop in the Mopti region of Mali (Bandiagara, Koro, Banka), near Douentza and part of northern Burkina (north-west of Ouahigouya ). The villages are often perched on top of the scree on the side of the hills, according to a unique architecture. The history of Dogon migrations and settlements (about ten main groups, about ...

Used as an amulet credited with apotropaic virtues, this small bronze sculpture constitutes, for the Sao, a talisman supposed to protect them from madness. It is therefore worn permanently. The rider-talisman is here mounted on a ring worn by the diviner during divination rituals. The genius who possesses the madman is represented by the rider, the horse representing the victim. This horseman wearing a cheche rides an equine which was a rare attribute of prestige in these regions of the Sahel. Height on base: 16 cm.
The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area extending over the borders between Chad, northern Cameroon and Nigeria. They established themselves on hills, which enabled them to repel invaders. Subjected ...

These filiform bronzes embody the primordial couple "Nommos" at the origin of creation among the Dogon of Mali. Evoking the sculptures of Giacometti, these African bronze sculptures are hammered with a succession of notches, punctuating the slender bodies.
Ocher brown patina.
The Dogon are a people renowned for their cosmogony, their esotericism, their myths and legends. Their population is estimated at around 300,000 souls living in the south-west of the Niger loop in the Mopti region of Mali (Bandiagara, Koro, Banka), near Douentza and part of northern Burkina (north-west of Ouahigouya ). Remains of old steelworks on the Bandiagara plateau, dating from the 15th century, confirm the activity of the blacksmiths. The latter form an endogamous caste among the Dogon called ...

Dogon pots are used to store ointments, tobacco, but also serve to marabouts as oracle pots.

This spherical pot has a lid on which sits an ape-like figure. Reptile motifs and large frieze decoration adorn the edges.
Khaki patina with ocher inlays. The Dogon are a people renowned for their cosmogony, their esotericism, their myths and legends. Their population is estimated at around 300,000 souls living in the south-west of the Niger loop in the Mopti region of Mali (Bandiagara, Koro, Banka), near Douentza and part of northern Burkina (north-west of Ouahigouya ). The villages are often perched on top of the scree on the side of the hills, according to a unique architecture. The history of Dogon migrations and settlements (about ten main groups, about fifteen different ...

These haughty African sculptures embody the primordial couple Nommos at the origin of creation among the Dogon of Mali. Evoking the sculptures of Giacometti, these bronze statues with slender bodies are punctuated by a succession of notches.
Light brown patina.
The Dogon are a people renowned for their cosmogony, their esotericism, their myths and legends. Their population is estimated at around 300,000 souls living in the south-west of the Niger loop in the Mopti region of Mali (Bandiagara, Koro, Banka), near Douentza and part of northern Burkina (north-west of Ouahigouya ). The villages are often perched on top of the scree on the side of the hills, according to a unique architecture. The history of Dogon migrations and settlements (about ten main groups, about fifteen ...

Used as an amulet credited with apotropaic virtues, this small bronze sculpture constitutes, for the Sao, a talisman supposed to protect them from madness. It is therefore worn permanently. The genius who possesses the madman is represented by the rider, the horse representing the victim. This horseman wearing a cheche rides an equine which was a rare attribute of prestige in these regions of the Sahel.
The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area extending over the borders between Chad, northern Cameroon and Nigeria. They established themselves on hills, which enabled them to repel invaders. Subjected to successive attacks from their neighbors in Kanem and then to hordes from the East, the Sao had to abandon their ...

Ancestor figure, talisman of individual protection, green patina rubbed with pink ocher for a ritual purpose.
The Vili, the Lâri, the Sûndi, the Woyo, the Bembe, the Bwende, the Yombé and the Kôngo constituted the Kôngo group, led by King Ntotela. With the same beliefs and traditions, they produced a statuary endowed with a codified gesture in relation to their vision of the world. The nganga, both healers, were in charge of religious activities and mediation with the God called Nzambi through consecrated figures. Nkisis protective figures are crafted and charged by the nganga with all the necessary ingredients to combat a variety of ailments.
Source: "The Kôngo gesture" Ed. Dapper Museum; "Animal" ed. Dapper Museum; "Art and Kongos" M.L. Felix; "Kongo Power and Majesty" A. ...

Arm or ankle bracelet used by the Jonga and Hamba groups in Congo Kinshasa around the 1950s for the payment of the dowry. (""The Perfect Form" R. Ballarini, p. 291) Adapted base on request.
In Africa, before the colonial period, payments were never made in coins. Transactions were made using cowries, pearls, cattle, kola nuts, but also metals, especially iron. These primitive currencies were used during commercial and social exchanges, for dowries in particular, but could also constitute objects of parade or throwing weapons. In Sierra Leone, goods were valued against iron bars called barriferri. In 1556 in Djenné Jean-Léon the African observed that the populations used iron to pay for "things of little value". The king generally controlled the production or routing of the ...

Used as an amulet credited with apotropaic virtues, this small bronze sculpture constitutes, for the Sao, a talisman supposed to protect them from madness. It is therefore worn permanently. The genius who possesses the madman is represented by the rider, the horse representing the victim. This horseman wearing a cheche rides an equine which was a rare attribute of prestige in these regions of the Sahel.
The Sao, ancestors of the Kotoko, were established between the 12th and 14th centuries in a geographical area extending over the borders between Chad, northern Cameroon and Nigeria. They established themselves on hills, which enabled them to repel invaders. Subjected to successive attacks from their neighbors in Kanem and then to hordes from the East, the Sao had to abandon their ...