African Arts Gallery

Headrest with female caryatid motif of Luba or Zela origin. The posture of the character has, among the Lubas, a particular symbolism, the genitals being in contact with the earth. Sculpture from the Luba and related groups depicts the woman and her connection to royalty and the bavidye spirits. Orange-brown patina.
Formerly subject to the Luba, then to the Lundas, the Zela, Muzela, or Wazela, have adopted a large part of their customs and traditions. Established between the Luvua River and Lake Kisalé, they are today organized into four chiefdoms under the supervision of leaders of Luba origin. They venerate a primordial couple frequently represented in statuary, mythical ancestors, and dedicate offerings to the spirits of nature.

French collection of classical African art. A prestigious ceremonial attribute, this ancient fly swatter is sculpted with a head reproducing the group's masks. Glossy oiled patina, long drying crack.
A tribe of the Tabwa group, the Rungu are established in a region between the D.R.C. (Democratic Rep. of Congo), Zambia and Tanzania. Under the influence of neighboring Lubas and Bemba, the Rungu produced prestigious objects intended for dignitaries: stools, combs, spoons and scepters, frequently decorated with figures of couples or twins evoking primordial ancestors. Their king, called mwéné tafuna, lives in Zambia. A women's association, Kamanya, has dolls like those of the Tabwas.

The masks of the Lubas of the Kasai region are not very widespread and are very varied. The Lubas of Kasai have in fact mixed with different groups, such as the Songye, Kaniok, Lulua and Kete of the east. Different influences can be seen on this deep volume facial mask, depicting the face of a bearded warrior covered in keloids. A panel tops it all. Matte patina, pastel polychromy, minor abrasions.

African mask Dan covered with red felt, extended by a long horsehair beard. Resinous aggregates at the top. Height on base: 42 cm.
Masks equipped with round eye sockets (gunye ge), facilitating vision, are part of all the masks of the northern Dan and are used for racing events during of the dry season. The zapkei ge, also equipped with circular orbits, are responsible for preventing fires by watching over domestic fires. Among the Dan, or Yacouba, living in the west of the Ivory Coast and in Liberia, the "dü" force which would animate the world would manifest itself in the sculpted masks. According to the Dan, the spirits indicate how to name the mask they wish to see made. These masks of different types are endowed with social, spiritual and political functions, often evolving ...

In African art, statuettes Lega. The teacher guided the aspiring lega to a place where African lega masks and statuettes were exhibited, and it was through attentive observation that the future initiate had to guess the more or less complex meaning of these objects, real metaphors referring largely to proverbs and sayings. Golden brown satin patina.
Within 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 during the 17th century, the Lega settled on the west bank of the Lualaba River in the DRC. The role of leader, kindi, is held by the oldest man in the clan, who ...

This backrest offering numerous patterns represents an ancestor of the clan. The flared hairstyle, often topped with a horn, is characteristic of the hairstyles acquired by the Totshi chiefs belonging to the ikoho association and evokes particular proverbs. It symbolizes respect, intelligence and maturity. Numerous scarifications are traced all over the body. Glossy brown patina. Abrasions from use, cracks from desiccation.
A people from Central Africa established in Kasai, neighboring the Kuba, the Ndengese form one of the clans descended from a common Mongo ancestor, some of them being originally of the Upper Nile. The Nkutschu are related to the Ndengese. The latter produced statues with absent or truncated lower limbs, covered with graphic symbols, symbolizing the prestige of ...

Collection of French African art.
Kuba ceremonial belt, embroidered with pearls and cowrie shells, an ancient currency. br /> Several tribes make up the Kuba group, established between the Sankuru and Kasaï rivers: Bushoong, Ngeendé, Binji, Wongo, Kété, etc... Each of them produced a variety of sculptures, statues, prestigious objects, masks, frequently decorated geometric patterns.
The Kuba, whose name means "lightning bolt", also produced African tools and weapons, including throwing knives, which later became transaction values, and heavy war swords, Ilwoon.

This type of figure, accompanied by its male complement Ntanda, intervened during initiation rites. Locally peeling light patina.
The Metoko and the Lengola, whose ritual sculptures are very similar, are peoples of the primary forest dedicated to the worship of a single God, a rare monotheism in Africa. Their society comprising three ranks, the Bukota, structured daily life and welcomed both men and women. It represents the equivalent of the Bwami association of the Lega. The sculptures played a role during initiation ceremonies, and were then placed on the tomb of high-ranking initiates. Kakungu in particular was surrounded by other sculpted objects, including Ntanda and Itea couple figures, related to initiation rites and circumcision . Most of these figures had a name, like the ...

This type of African mask is part of a genre which would have followed the arrival of white missionaries at the end of the 19th century. The round face with rounded cheeks is covered with keloid scarifications and is extended by a panel concealing the wearer's neck. Eroded matte patina.
These masks were produced during different traditions: investitures, funerals, and rites against witchcraft among the different initiatory societies. In the eastern part of the Luba region, important ceremonies take place in homage to the ancestors of the clan, deceased chiefs, and to the new moon. Offerings are then given to the spirits of nature, intermediaries between the group and the ancestors.
The Luba, or Baluba in Chiluba, are a people of Central Africa. Their birthplace is Katanga, ...

Belonging to a lineage, this smaller altar mask, among very varied uses, had a protective function. Libations of food or oil were offered to him. The young initiates tested their ability to sculpt small masks, in the hope of being visited in dreams by the spirits to become singers or dancers during masked ceremonies. Height on base: 29 cm.
Erosions, small chips. Matte patina.
Within Dan society, mask wearers are high members of the social hierarchy whose identities are concealed from the public eye. Masks are involved in the conflict resolution process when the village chief has not been able to resolve a problem. Generally speaking, dan masks also have the particularity of not being representations of bush spirits but of being in fact their incarnation. Most were kept ...

In African tribal art, amulets, also called charms, take up the canons of the mask they represent. These pendants can be in ivory or bone.
This Baoulé copy, extremely rare, is embellished with a pretty orange patina.

This African Lega mask indicated the stage that its holder had reached within the Bwami, a learning society made up of different grades, and joined by wives whose spouses had reached the third level, that of ngandu . An oval volume for this mask, shallow, notched with heart-shaped arches in which the almond-shaped eyelids seem half-closed. The short nose surmounts a flat mouth matching the shape of the eyes. Abrasions and desiccation cracks.
Height on base: 38 cm.
Within 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 during the 17th century, the Lega settled on the west bank of the Lualaba River in the DRC. During ritual ...

The African masks naturalistic of the Kongo clans.

According to the sources, these masks would belong to the diviners, to the Ndunga society, or were worn during funeral rites.
This naturalistic face, framed by ears, is distinguished by its mouth revealing two single teeth, its flattened nose and narrow slits for the eyes. He is also wearing a skullcap. Soft wood, abraded matte patina.
The Vili , the Lâri, the Sûndi, the Woyo, the Bembé, the Bwende, the Yombé and the Kôngo formed the Kôngo group, headed by the king ntotela . Their kingdom reached its peak in the 16th century with the ivory and copper trade and the slave trade. With the same beliefs and traditions, they produced a statuary with a codified gesture related to their worldview. In ...

The naturalist sculpture of the Kongo clans.

Realistic features, careful modeling, hollowed pupils referring to extralucid abilities, compose a soothsayer's mask adopting traditional conventions. According to sources, these masks were worn during funeral rites. Grainy heterogeneous patina, abrasions. Height on base: 39 cm.
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. In addition to their weapons and prestige objects and their funerary sculpture, the Sundi ...

African art and contemporary African crafts.
Contemporary artists from South Africa create African dolls garnished with a multitude of glass beads. Touching and decorative, these works also alternate various metal elements and shells, highlighting the skill and creative sense of their designers.
During the 19th century, tribes united to form the group called Zulu, whose local chiefs, led by the king, are called iduma. Their society is that of warriors organized into age classes. It was in 1884 that they were annexed by the English. Skilled in making jewelry, the Zulus work with leather, metal and ceramics, adding feathers and beads. Beads, while having a carrying role, indicate the social situation of those who wear them.

In addition to their weapons and prestige objects and their funerary sculpture, the Sundi used, individually and collectively, conjuring fetishes often equipped with a magical charge. The bust of the figure which would embody an ancestor is equipped with a cylindrical block for ritual purposes. Glossy chocolate patina. Cracks and erosions.
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.

Established on a circular base, this sculpted figure is distinguished by its posture, arms and legs freeing up space around the bust, accompanying the flexion of the legs. Glossy black-brown patina. Desiccation cracks.
The tribes of the south-eastern region of the DRC, around Lake Tanganyika, such as the Tumbwe and the Tabwa, worship their mipasi ancestors thanks to sculptures held by chiefs or sorcerers. A magical charge (dawa) was often introduced at the top of the statues' heads, which is not the case here. The diviners-healers used this type of object to reveal witchcraft and protect against malicious spirits. According to some, the Lubas carved for the Tumbwe.
Source: “Treasures of Africa” ed. Tervuren Museum.

Ritual instrument used in the fourth initiatory rank of the Bamana Kore society, Bambara, this cane is named, like the horse mask, Kore Duga or the Kore vulture b>. The name of the mask refers to the satirical behavior of the dancer-jester who straddles the stick during his performance. It has various objects associated with the knowledge dispensed by the Koré, the last initiatory society of the Bamana. The handle has a slightly curved flat seat and is extended by a sculpted head. Black brown patina, erosions and cracks, lack.

This African art statuette, Hemba or Luba Nkisi, personifies a male ancestor, standing on a single leg. Velvety smooth patina, locally chipped. Minimal cracks.

The Hemba settled in southeastern Zaire. Once under Luba rule, these farmers and hunters practice ancestor worship through effigies long attributed to the Luba. The statues singiti were kept by the fumu mwalo and honored during ceremonies during which sacrifices were offered to them. Alongside the authority of the hereditary chiefs, secret societies, male such as the bukazanzi , and female, the bukibilo ,played a great role within the clan.

(Source: "Treasures of Africa, Museum of Tervuren)

Statue of African art Baoulé, this Waka-Sona, Waka sran, "being of wood" in Baoulé, embodies a< i>assié oussou, being of the earth, genius of nature.
She is one of a type of statues intended to be used as a medium tool by komien or "komienfoué" soothsayers, the latter being selected by the spirits asye usu in order to communicate revelations from the afterlife or blolo . The second type of statues are the spouses of the afterlife, male, the blolo bian or female, the blolo bia.
Satin black patina. Desication cracks, abrasions. Kaolin highlights.

Encrusted with shards of brass making up a decorative frieze, this ancient container from East Africa was designed by a nomadic people. The latter was particularly decimated by the Islamic slave trade and by recurrent internecine wars. The population groups called "Bantous interlacustres", located between Lake Victoria and the Limpopo River, include the Ganda, Nyoro, Nkole, Soga, Toro, Hima, and the Tutsi of Rwanda and Burundi. Their cultures have similarities, like their artistic production and their objects of daily use. The Tutsi raise cattle. They excel in the art of weaving and basketry. This spherical pot with a small horizontal handle has smooth walls and slight abrasions (Shard on the edge).