African Arts Gallery

The art of bronze in African art at the service of the King.
The king, a bearded figure, a symbol of wisdom, sits in his carrier chair, accompanied by his children. The whole thing is topped by an elegant removable parasol with crenellated edges. All the characters present the typical features of bamoun sculptures such as globular eyes and imposing nose.
Located in the border region of Nigeria, the northwestern province of Cameroon, Grassland is made up of several ethnic groups: Tikar, Anyang, Widekum, Chamba, Bamoun and Bamileke. Several centralized chiefdoms, or kingdoms, based on customary associations, secret societies, are organized around the Fon which would have broad supernatural powers including that of being able to transform into an animal such as the python, the ...

Used as an amulet credited with apotropaic virtues, this small bronze sculpture is, for the Sao, a talisman supposed to protect them from madness. It is therefore worn at all times. The genius who would possess the madman is represented by the rider, the horse appearing the victim. This minimalist rider straddles an equid that was a rare attribute of prestige in these sahel regions. Accompanied by a metal base. Copper golden patina. The Sao, ancestors of the Kotokos, were established between the 12th and 14th centuries in a geographical area stretching along the borders between Chad, northern Cameroon and Nigeria. They settled on hills, allowing them to repel the invaders. Lost wax cast iron was already commonly practiced as early as the 12th century by this African ethnic group, which ...

The elegance of proportions and attitudes, in this sculpture of African art, has been translated with talent by the dogon blacksmith. The latter form an endogamous caste among the Dogon called irim . They now produce weapons, tools, and also work wood. They are also supposed to treat burns (Huib Blom). The frequent representations of a rider, among the Dogon of Mali, refer to their cosmogony and their complex religious myths. Indeed, 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 ...

This character on his mount is wearing the braided fiber hat reserved for the dignitaries of the Benin court. The ceremonial sword, or eben , which he is equipped with, representing the royal authority, also indicates his status as leader. A crusty patina punctuated with white pigments.
Piece from the collection of the painter 'a target''blank' href'http://wiki.ibb.town/Karl-Heinz-Engstfeld' Karl Heinz Engstfeld and 'a target''-blank' href'https://evibb.de/home/wir-trauern-um-ruth-engstfeld-schremper/' Ruth Engstfeld-Schremper , artist.
Benin art is described as a court art because it is closely associated with the king, known as oba. The tradition of Ifè's bronze classroom objects dates back to the 14th century. Before the destruction of the palace of the Kingdom ...

African art among the Lobi.
The populations of the same cultural region, grouped under the name " lobi ", make up one-fifth of the inhabitants of Burkina Faso. Few in Ghana, they have also settled in northern Côte d'Ivoire. It was at the end of the 18th century that the Lobi, from North 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 address through the worship of many intermediate spirits, the Thil , the latter being supposed to protect them, with the help of the soothsayer, against a host of plagues. Bush geniuses, red-haired beings called Kontuor , are also expected to help them. To communicate with men, the different Thils demand sculptures of bateba in ...

Represented perched on a circular pedestal, this warrior-like figure features prestigious insignia, such as the ceremonial sword of the Benin monarchs, the Eben, and a scepter. Long mats hang from the royal headdress. Pink-brown patina, grey-green inlays.
The many bronze 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, king of the ethnic group. These rectangular altars were surmounted by heads, statues, carved ivory tusks, bells and sticks. The commemorated Oba was subject to offerings in order to come into contact with his spirit. (Source: "Benin", Armand Duchâteau)
The benign bronzes are arguably among the most famous of Black ...

This bronze African art sculpture depicts the Oba dressed in a war outfit, a mesh rib, accessorized with numerous coral pearl necklaces. It holds symbols of royal power such as the scepter and the sword.
Golden pink patina, grey-green inlays.
br- The many bronze 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, king of the ethnic group. These rectangular altars were surmounted by heads, statues, carved ivory tusks, bells and sticks. The commemorated Oba was subject to offerings in order to come into contact with his spirit. Another tradition also evokes the casting by the founders of the heads of defeated kings who had been ...

Antelope stylized (hyppotrague) , dark patina. The translation means “fawn-coloured ground” Emblem of the tòn, associations intended for agricultural work.The associations tòn, fraternity of age, bring together the young people (boys and girls) of the same septennial age group. Associations with social aim, they helped the most impoverished with the agricultural work. At the time of these works, - preceded by a sacrificator holding a fetish - a couple of masked dancers occurred, Tyiwara “deer of the culture”, accompanied by a mask buffoon. The masks traversed the field while leaping, in order to drive out this one the nyama, malefic emanations, to detect any danger or to flush out the evil geniuses able to steal the heart or the seeds' sinews from the crop plants . The male Tyiwara ...

The frequent representations of horsemen, among the Dogon of Mali, refer to their cosmogony and their complex religious myths. Indeed, 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 it was customary for him not to set foot on the ground. In the area of the cliffs of Sangha, inaccessible on horseback, the priests wore it, while hating in reference to the mythical ancestor Nommo . The characters are depicted naked, riding raw, the man wearing the hogon cap grabbing the bridle of one hand has a spear in the second. Grey-green skate
The Dogon ...

The rooster is a totemic animal in the benign culture.

The benign bronzes are probably among the most famous of the tribal art of Black Africa. In fact, they have been in large quantities monopolized by Western museums, especially since the beginning of the twentieth century. This period is not insignificant because at that time, the British government put under pressure oba, king of the ethnic group, for economic reasons. In this context and following the assassination of a young British consul and his delegation, a punitive expedition led by the Royal Naval admiral, Sir Harry Rawson, pillaged, massacred and burned down the city. Benign. The royal treasury of the Oba, consisting of about 2500 pieces, was repatriated to Europe and disseminated

Ex private collection of African art UK. Each head is surmounted by a so-called Oliphan horn. They shine by their size of 2m10 high. Each oliphan has a similar decoration. At the top, an Oba sitting on an equestrian representation. The middle is decorated with a mask that overhangs the king in war clothes. The set is based on a head with a finned cap. One of the specificities of the ancestral altars of the chiefs is the commemorative head, head of het chief characterized by the minutely reproduced insignia of a high-ranking title holder. It is at the head that sacrifices and offerings are presented, it is she who is thanked for the good being of the faithful. For the chief, the altar of the head has a very intimate meaning, which is why it is placed in the heart of the house. The ...

Dogon african art
Minimalism for these longitudinal silhouettes erected on a conical base. These tribal-inspired bronze sculptures evoke the works of the famous Giacometti and are depicted as parallel legs and arms, palms open to the sky in an attitude of supplication. A very light radiance of the green-grey patina reveals the golden metal on the top of the head of a figure. The Dogons are a people renowned for their cosmogony, esotericism, myths and legends. Their population is estimated at about 300,000 people living southwest of the Niger Loop in the Mopti region of Mali (Bandiagara, Koro, Banka), near Douentza and part of northern Burkina Faso (north-west of Ouahigouya). The villages are often perched at the top of the scree on the hillside, according to a unique architecture. ...

The technique of wax lost in African art.

The altar heads are famous pieces in benign art. Like the other bronzes, they were cast using the lost wax technique. A layer of wax is integrated into a sand mould. When the molten metal is cast, the wax evaporates and the bronze replaces it by adapting to the fine patterns left in the sand.
These pieces are very loaded with details and patterns. This pair of realisticly-suited royal heads features facial scarifications and many finely detailed ornaments. Each rests on a square base decorated with human faces. Their characteristics make it possible to attribute them to the stylistic current of the name of 'uhumnwun elao'.

The art of Benin is described as a court art because it is closely associated with the king, ...

This African tribal object was probably designed to preserve active medicinal preparations prepared from the advice of elders who had been introduced to the science of trees or " jiridon ". On the lid is an effigy of the mythical ancestor Nommos , genius associated with the creation of the world, guarantor of health and fertility. The latter is supposed to activate the healing power of the active ingredients. The walls are decorated with allegorical decorative motifs, such as wave friezes and spiral patterns. Supported by four zoomorphic feet, the object is endowed with horse heads at one end, riders and their mounts, symbols of power and wealth since rare, constituting a recurring theme in African art, especially in Mali.L' together is enhanced with a light green patina with golden ...

The "masters of fire" in dogon african art

This ointment or pharmacopoeia receptacle consists of a rectangular box with a lid and a double handle. bridled horses, handles adorn the second, ornamental and zoomorphic motifs, such as ripples of wavelets and spiral patterns, and snakes, adorn the sides of the vase Greenish patina. The Dogon constitute a people renowned for its cosmogony, its myths and legends Their population is estimated at about 300 000 souls living south-west of the Niger loop in the Mopti region of Mali (Bandiagara, Koro, Banka), near Douentza and part of northern Burkina Faso (north west of Ouahigouya) The villages are often perched on the top of the scree on the hillside, in a unique architecture.The remains of ancient steel sites on the plateau ...

In African art, the art of Benin is described as an art of court because it is closely associated with the king, known as Oba.

There are also dwarves from the entourage of King intended to entertain him. Character with generous forms, the example presented is distinguished by its headdress and beard made of small pins. The Ife bronze courthouse tradition dates back to the 14th century. The many bronze heads and statues created by the artists of Benin were reserved for the exclusive use of the inhabitants of the royal palace and, most often, placed on altars dedicated by each new Oba.

Ex English private collection of African art.

These altar heads created using the lost wax technique are very loaded with details and patterns. The figures with realistic features have facial scarification and many finely detailed ornaments. This pair of busts presents a beautiful symmetry. The two figures wear a cross-braced garment with a collar bearing a bell.
The horns themselves are covered with geometric patterns and sculpted faces. At the top of each horn sits a soldier, helmet on his head and weapon in his fist.

The art of Benin is described as a court art because it is closely associated with the king, known as the oba. The tradition of Ifè bronze court objects dates back to the 14th century.

The numerous bronze heads and ...

These plates designed for being contemplated like paintings feature scenes of the regal entourage. Occasionnally they would also be used when an etiquette problem has to be faced with. The art of lost-wax casting achieves its

perfection by the depiction of these life scenes in the palace.

Benin bronze leopard. This bronze sculpture is world wide famous among collectors of Benin bronze. The leopard was a sign of royalty in the Benin kingdom. Large bronze leopard sculptures were cast in the King's palace in Benin. The leopards are designed with unique engravings and as with the other Benin bronzes cast using the lost wax process, the leopards are hollow. A unique piece of art for collectors and ethnic home decorators.

In Benin art, the leopard is the ultimate representation of the Oba. As well as the latter that the leopard shares the same honorary designation of Ekpene. Domesticated, leopards were in the royal menagerie. Leopards bronze decorated the royal altars. Male Leopard : 91cm x 74cm, 27 kg Female Leopard : 78cm x 65cm, 20 kg

Exceptional Tikar Throne.The Tikar are Pygmy people which are found in West Cameroon. They are a well mixed new population because traditionally conquering. They submit to the traditional chiefdoms' system inserted within broader historical kingdoms. Their settlement has been testified on the Cameroonese ground since the XIXe century.