African Arts Gallery

Ex-collection British African tribal art.
Sacrality of the carved seats, regalia of prestige, in the primitive African art. A female figure squatting with legs widely apart (Zula style), supporting the tray of a circular seat, forms the "receptacle of a deceased sovereign chief" (Luba, Roberts). The protruding scarification marks converging towards the umbilicus, the "center of the world" associated with lineage, bear witness to notions of fertility. This stool named lupona ,or kioni ,kipona , kiona , according to the sources, is the meeting point of the sovereign, his people, and the protecting spirits and ancestors, where past and present symbolically and spiritually mingle. It once formed the foundation on which the king was enthroned. The seats were laid out on leopard skins ...

Playing the role of spiritual medium, this female luba figure is represented in a classical attitude, hands on the chest. Her headdress, behind a wide band revealing a shaved forehead, is related to the one worn by Luba women at the beginning of the 20th century. By her symbolic gesture she indicates that the secrets of royalty ( the bizila )belong to women thanks to their role of political and spiritual intermediary. The scarifications in relief on the abdomen, horizontal on the lower abdomen, scatter her bust. The umbilicus presents a prominence that also insists on its role of fertility and transmission of life. Matt dark brown patina. Crack of desiccation in the back.
The Luba (Baluba in tchiluba) are a people of Central Africa. Their cradle is Katanga, more precisely ...

This type of African luba mask with rounded structure has similarities to songye masks. However, they did not have the same function. This category of African masks are named 'bifwebe'. They appeared at funerals and investitures. The eastern Lubas had some zoomorphic masks associated with kifwebe dance. They performed during the ritual ceremonies of the society kazanzi , charged with fighting witchcraft. " Bifwebe (Sing.: kifwebe) would mean, according to C. Faïk-Nzuji, 'chasing death'. Worn with a voluminous raffia collar that concealed the dancer, this mask was usually danced in the company of a zoomorphic mask. In the Luba, white is synonymous with the relationship with the spiritual world, by the evocation of the moon evoked by the circular shape of the object.
High on a base: ...

Kneeling and supporting the circular tray of a seat, a female figure forms the receptacle of a deceased sovereign leader (Luba, Roberts). The scarifications of the female figure, protruding, on spikes, surround the umbilical, the centre of the world. associated with lineage, and those of the lower abdomen, horizontal, symbolize fertility. This stool named lupona , or kioni or kipona, kiona, according to the sources, constitutes the meeting point of the sovereign, his people, and protective spirits and ancestors, where symbolically and spiritually past and present mingle. It was once the seat on which the king was inducted mulopwe. The seats were arranged on leopard skins at the inauguration of the new leader. It was only after sitting there that his address was royal and divine. Apart ...

A major accessory to the sumptuous Luba headdresses, the African comb is always sculpted with motifs associated with founding myths, royalty or religious beliefs. This everyday object is topped by a female figure carved in the round. The Luba female effigy, associated with a role as a spiritual medium, presents a headdress, behind a band uncovering a traditionally shaven forehead, worn by Luba women at the beginning of the 20th century. This figure affirms the major role of women in Luba royalty(the bizila) through their role as political and spiritual intermediaries.
Light brown semi-matt patina.
The Luba (Baluba in Tchiluba) are a people of Central Africa. Their cradle is Katanga, more precisely the region of the Lubu River, thus the name (Baluba, which means ...

Semi-spherical mask, streaked with circular grooves, it adopts certain elements of the Songye masks of the Kifwebe, including the stretched eyelids and the geometric mouth in projection. However, it did not have the same function. This category of rather rare African masks are named 'bifwebe'. They appeared at funerals and investitures. They performed during the ritual ceremonies of the society kazanzi , charged with fighting witchcraft. " Bifwebe (Sing.: kifwebe) would mean, according to C. Faïk-Nzuji, 'chasing death'. Worn with a voluminous raffia collar that concealed the dancer, this mask was usually danced in the company of a zoomorphic mask. Patine mate. The reddish mouth wood is eroded, as is the tip of the nose. Abrasions of use.
Luba (Baluba in Tchiluba) are a people of ...

This African sculpture was a tool for communication with the ancestors, used by the diviner during divination rituals. The Luba , like their neighbors, used this type of object related to divination kashekesheke named katatora and lubuko . According to François Neyt, the object was carved from a wood ( kibekwasa )with magical properties. During the interview, the ring was caught by the diviner and his client, who would slide it on a mat or headrest in response to the questions asked ( producing the sound "kashekesheke", "extraction of truth"). Generally considered feminine, the object is a symbol, for the Luba, of the spiritual power that a woman would have, although the carved motif here shows a face with feminine features doubled with a face of masculine character. Black satin ...

Ex-German African art collection. Emblematic of the sculpture of the Lubas of the east along the Luvua River (D.R.C.), this type of African mask of semi-globular structure presents similarities with the masks of the Songye. However, they did not have the same function. These African masks are called "bifwebe". They appeared during funerals and investitures. Streaks coated with white clay are engraved on the surface. Height on base : 40 cm. They performed during the ritual ceremonies of the kazanzi society, responsible for fighting witchcraft. "Bifwebe" (Sing.: kifwebe) would moreover mean, according to C. Faïk-Nzuji, "to chase death". Worn with a voluminous ruff of raffia and animal skins that concealed the dancer, this mask was generally danced in the company of a zoomorphic mask. ...

This female Luba effigy, associated with a role of spiritual medium, presents a physiognomy with a concentrated, meditative expression. Her stepped headdress, behind a headband revealing a traditionally shaved forehead, resembles one of those worn by Luba women at the beginning of the 20th century. This sculpture affirms the major role of the woman in the Luba royalty (les bizila) thanks to her role of political and spiritual intermediary. Smooth black-brown patina.

The Luba are renowned for their statuary and in particular their neckrests and stools made up of a caryatid figure and sometimes an animal motif, the cephalophe as here.
In this case it is a female figure, embodying royalty and the spirit of the ancestors, riding the animal. Antelope horns were used, loaded with magical ingredients, in therapeutic rites.
Neck rests were also used to support the heads of the deceased, and sometimes, according to Albert Maesen, buried in their place. Greyish brown matte patina. The Luba (Baluba in Tchiluba) are a people of Central Africa. Their cradle is Katanga, more precisely the region of the Lubu River, hence the name (Baluba, which means "the Lubas"). They were born from a secession of the Songhoy ethnic group, under the ...

The tribal art of Africa proves once again that any usual object can become an artistic support. The decorative aspect of an object is never its intrinsic function. In African art, any everyday object can be transformed into a masterpiece while keeping its usefulness. The major role played by women in the political life of the kingdom is illustrated by the recurrence of the female motif in Luba art. The latter, which stood out for its prestige and quality, had a great influence on neighboring groups. This comb is surmounted by a protective effigy embodying a political and spiritual intermediary, a role held by the woman in Luba royalty. Her headdress, behind a wide band revealing a shaven forehead, evokes one of those worn by Luba women at the beginning of the 20th century. The secrets ...

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The Luba are renowned for their statuary and in particular their neckrests and stools made of a caryatid figure. The female effigy symbolizing Luba royalty, here holding a ceremonial calabash, has a cascading shankadi hairstyle. Neck rests were also used to support the heads of the deceased, and sometimes, according to Albert Maesen, buried in their place. Satin patina.
The Luba (Baluba in Tchiluba) are a people of Central Africa. Their cradle is Katanga, more precisely the region of the Lubu River, hence the name (Baluba, which means "the Lubas"). They were born from a secession of the Songhoy ethnic group, under the leadership of Ilunga Kalala, who had the old king Kongolo, who has since been venerated in the form of a python, die. In the sixteenth century they ...

The object here-versus uses a water pipe. Its sculpted handle takes the form of a medium female figure, with classic Luba features, sporting traditional body scarifications, sitting qualifourchon on the head of the piece. Her hairstyle, behind a large headband delimiting a shaved forehead, evokes those of luba women at the beginning of the 20th century. His gesture symbolizes the power of Luba women, holders of the secrets of royalty (the bizila) and non-uniform, satin-like, brown spiritual mediums.
The Luba (Baluba in Chiluba) are a people of Central Africa. Their cradle is the Katanga, specifically the region of the Lubu River, so the name (Baluba, which means \

Supporting with her fingers placed in a fan shape the circular tray of a seat, a female figure forms the "receptacle of a deceased sovereign chief" (Luba, Roberts), a child at her side. Carved in a very dense wood. Dark patina with red highlights, cracks.
This stool named lupona ,or kioni or kipona , kiona and still kitenta ("seat of authority"), according to the sources, constitutes the meeting point of the sovereign, his people, and the protective spirits and ancestors, where the past and present are symbolically and spiritually mixed. It was once the seat on which the Mulopwe king was enthroned. The seats were placed on leopard skins during the investiture of the new chief. It was only after he was seated that his speech took on a royal and divine character. Apart from these ...

This tablet with curved edges is surmounted by a head supposed to embody an ancestor communicating with the guardian spirits, 'mvidye', intermediate between the spiritual world and individuals, which can also embody the spirits of nature among the Luba of Kasai. The drawings, colours and layout of the inlays of the plateau are linked to a mnemonic proverb or code associated with the myths, origins and precepts of Luba royalty. This multi-interpretation object allowed followers of the Mbudye to transmit during codified rituals, through stories and songs, the genealogy of the founding heroes, the history of clan migrations, certain codes of the kingdom, etc. H. on pedestal: 37 cm.
Nene brown velvety matte, slightly abraded areas. Height on pedestal: 36cm
Shest the Luba, the ...

The soothsayers of the western part of the Luba Empire used drumsticks to crush the kaolin mpemba stined at divination ceremonies. This cephalomorphic sculpture called lubuko features finely sculpted features under a shaving forehead and a hairstyle composed of multiple buns. The lower end forming a wider base is wrapped in skin surrounded by copper wire. Patina lustrous by gripping. Desication cracks.
The cups mboko, gourds containing the kaolin whose face of the soothsayer and initiates was coated, formed an image of purity and the spiritual world. These containers were used by different Luba societies, and groups of prophets, more generally by the psychics of the divination society Kilumbu, Bilumbu, or by the healers of the society Buhabo. The soothsayers Mbudye and the ...

Ex Portuguese African art collection. The effigies are depicted facing each other, the head at the end of a long ringed neck, resting on the shoulder of the one opposite. They are embracing each other in a curious position, the right leg of one raised to the height of the other's thigh. Both figures have a headdress pulled back behind a squared band, a reference to the elaborate quadrifoliate headdresses of dignitaries. Dark oiled patina, satin sheen, slight lack of one of the teeth of the comb. African tribal art proves once again that any common object can become an artistic support. The decorative aspect of an object is never its intrinsic function. In African art, any everyday object can be transformed into a masterpiece while keeping its usefulness. The major role played by women ...

A major accessory of the sumptuous Luba headdresses, the African comb is always sculpted with motifs associated with founding myths, royalty or religious beliefs. This everyday object is topped by a female figure sculpted in the round. Missing on a tooth of the comb. Satin patina. The tribal art of Africa proves once again that any usual object can become an artistic support. The decorative aspect of an object is indeed never its intrinsic function. In African art, any everyday object can be transformed into a masterpiece while keeping its usefulness. The major role played by women in the political life of the kingdom is illustrated by the recurrence of the female motif in Luba art. The latter, which stood out for its prestige and quality, thus greatly influenced neighboring groups.

Kneeling, a female effigy, "recepacle of a deceased sovereign leader" (Luba, Roberts) supports the circular tray resting on its cylindrical headdress. The protruding scarifications in the ears converging on the umbilical, "centre of the world" associated with lineage, those of the lower abdomen, the fullness of volumes, symbolize fertility. This stool, named lupona, or kioni or kipona, kiona , according to the sources, constitutes the meeting point of the sovereign, his people, and protective spirits and ancestors, where symbolically and spiritually intermingle past and present. It once formed the foundation upon which the king mulopwe was inducted. Seats were arranged on leopard skins at the inauguration of the new leader. It was only after sitting there that his speech took on a ...

The Luba are renowned for their statuary and in particular their neck rests and stools made of a caryatid figure. In this case they are seated figures, embodying royalty and the spirit of the ancestors. Neck rests were also used to support the heads of the deceased, and sometimes, according to Albert Maesen, buried in their place.
Satin brown-black patina. The Luba (Baluba in tchiluba) are a people of Central Africa. Their cradle is Katanga, more precisely the region of the Lubu river, hence the name (Baluba, which means "the Lubas"). They were born from a secession of the Songhoy ethnic group, under the leadership of Ilunga Kalala, who had the old king Kongolo, venerated since then in the form of a python, die. In the 16th century they created a state, organized in ...