African Arts Gallery

In southeastern Nigeria, the African Igbo sculptures produced in several regions, known as alusi, or agbara, are decorated with more or less elaborate aristocratic attributes. They embody a considerable number of divinities. Considered to be the descendants of Chuku, or Chukwu, these statues constitute intermediaries to whom sacrifices such as kola nuts, money, kaolin, are granted in order to enjoy their favors.
The sculptors turn out to be men, but the female followers often contribute by completing the work using colored pigments.
Hairstyle and integumentary ornaments also indicate the social rank of the figure. The hat here is the attribute of a titled man. Grainy matte surface. Old restoration of a foot. They are only presented to the public during annual ceremonies. ...

Ex-Belgian collection of African art
Ritual object intended for divination sessions. Small spherical calabashes are topped with an African statuette embodying the mediating spirit. Seeds and elements called bijimba with magical virtues were introduced into the dried fruits, producing a sound when handled. These bankishi sculptures (sing. nkishi ) were used in the context of the bugabo , a society dedicated to hunting, healing and war. Dark satin patina.
The Hemba have long been subject to the neighboring Luba empire which has had a certain influence on their culture, religion and art. Ancestor worship, which influences justice, medicine, law and sacrifices, is central to Hemba society. Genealogy is indeed the guarantor of privileges and land distribution. Mastering ...

Sketchy yet expressive features for this sculpted figure devoid of arms, carried by high slender legs rising from a cube. Between two arm stumps, a flat and reduced chest forms a slight relief.
Slightly satin-finished, abraded surface.
In the southern coastal region of Tanzania, around Dar-es-Salaam, a relatively homogeneous group produced most of the artistic productions. It includes the Swahili, Kaguru, Doé, Kwéré, Luguru, Zaramo, Kami. The second region is made up of a territory covering southern Tanzania to Mozambique, where some Makonde and the Yao, the Ngindo, Mwéra, and Makua live. In the North-East of Tanzania, the Chaga, Paré, Chamba, Zigua, Massaï, Iraqw, Gogo, and Héhé have an artistic production presenting similarities with Malagasy and Batak art, which ...

Former French collection of African art.
Precisely carved statuette that embodies the royal ancestor Mizimu. Large statues of this type were placed alongside female effigies in a small funerary hut. Lustrous brown patina.
Migratory flows have mixed within the same territories Bembe, Lega, Buyu (Buye) or Boyo, Binji and Bangubangu. Organized into lineages, they borrowed the association of the Bwami from the Lega. The Bembé and Boyo traditions are relatively similar: they venerate the spirits of nature, of water specifically among the Boyo, but also the heroic ancestors, whose will one seeks to know by means of divinatory rites. Hunting is also an opportunity to perform sacrifices of gratitude to the entities from whom one has begged for favor and protection. Their masks are ...

The Ubangian crucible has produced many statuettes that share certain similarities. This primitive sculpture, on which the herminette strokes appear, was indicated to us as belonging to the Ngbaka . It is distinguished by a voluminous head in which the bulging forehead gives birth to a braided hairstyle pulled backwards. The look is just suggested by a linear recess between two circular samples marking the ears. Nostrils are dug under the large nasal volume dominating a thin horizontal mouth, conferring a determined appearance. Reduced arms, placed against the bust, emphasize the volume of the abdomen. This ancient statuette could be associated with fertility and fertility. The dark brown patina with a satin feel, lustrous by oil anointings, is locally abraded. Desication cracks.

African face mask Makonde associated with an ancestral spirit. This sculpture is characterized by a deeply sunken look highlighting the relief of the cheekbones and the ears placed in height. The hairstyle forms a double crest. A labret deforms the upper lip. Dark satin patina.
Height on base: 37 cm.

The Makonde of northern Mozambique and southern Tanzania wore helmet masks called lipiko during initiation ceremonies for young people. The Makonde venerate an ancestor, which explains the abundance of naturalistic female statuary. Besides the face masks worn during mapiko dances and ngoma ceremonies that educate young people about the demands of marriage and family life. the Makonde also produce body masks featuring the female bust. For the Makonde, the ancestors would return ...

Carved from dense wood, this protective female figure is said to be associated with the mythical ancestor and to intervene in human fertility, land fertility, and successful hunts. The face forms a miniature replica of the powerful mukishi wa pwo nyi cijingo ca tangwa mask topped with the kambu ja tota. ("Chokwe and Their Bantu Neighbours" Rodrigues de Areia.) br> Brown satin patina. Abrasions, cracks.
br>Originally Lunda, the Lwena , Luena, emigrated from Angola to Zaire in the 19th century, pushed out by the Chokwe. When some became slave traders, others, the Lovale, found refuge in Zambia. Their society is matrilineal, exogamous and polygamous. The Lwena became known for their sculptures embodying figures of deceased ancestors and chiefs, and their masks related to the ...

French African art collection.
Prestigious African comb with a traditional doll motif. Light brown satin smooth patina. The Zaramo and the tribes around them designed dolls generally associated with fertility, but to which other virtues would be attributed. Its primary role is played during the period of confinement of the young initiate Zaramo. The novice will behave towards the object as with a child, and will dance with it during the closing ceremonies of the initiation. In case the young woman does not conceive, she will adopt the "child". Among the Zaramo, this carved motif is repeated on the top of canes, decorates ritual objects, such as combs, hairpins, and even appears on burial posts.

Les régalia des Tchokwe dans l'art africain
Emblême de pouvoir faisant partie des régalia, marque d'ostentation, ce sceptre représente la puissance politique et symbolique.  Sculpture en ronde-bosse réalisée par un artiste au service du chef, associée au culte thérapeutique de type Hamba, la figure féminine Chokwe ou Lwena incarne l'ancêtre féminin qui est censée garantir les naissances ou la guérison. Le personnage qui illustre également la seconde épouse du chef mythique Chibinda Ilunga arbore une coiffure bombée telle un casque.
Patine brune satinée, résidus de kaolin.
Paisiblement installés en Angola oriental jusqu'au XVIème siècle, les Chokwé ont ensuite été soumis à l'empire lunda dont ils ont hérité un nouveau système hiérarchique et la sacralité du pouvoir. ...

This type of drummer sculpture is produced by the Nkanu of the DRC. Large, trance-like eyes distinguish the face of the typical Nkanu subject. Satin patina.



The Nkanu live from agriculture along the Lufimi River. Their villages are grouped in groups of four or five under the authority of a local chief directing the heads of families. Their artistic production is mainly linked to initiatory rites. Drum players appear on the carved wooden panels exhibited during “kimeki” initiation rites. The sound of the drum, among the Kongo and Yaka, covered the groans of nkanda circumcision, chased away malevolent spirits, and encouraged future initiates.
Lit. : “100 People of Zaire and their Sculpture” M.L. Félix. Litt. 100 People of Zaire and their Sculpture" ...

This type of symbolic sculpture was used during enthronement rites. Grainy, velvety black patina. Desication cracks.
The Tabwa ("scarify" and "write") constitute 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 mipasi ancestors through sculptures held by chiefs or sorcerers. A magical charge (dawa) was frequently placed on top of the statues' heads. Soothsayers-healers used this type of object to reveal witchcraft and protect against malevolent spirits. .
Simple farmers without centralized power, the Tabwa federated around tribal chiefs after coming under the influence of the Luba. It was mainly during this period that their artistic current was expressed mainly through statues but also ...

French collection of African art.
The Solongo cultures of Angola and Yombé were largely influenced by the Kongo kingdom from which they borrowed naturalistic statuary and religious rites, in particular by means of sculpted nkondo nkisi fetishes.
African statuette evoking the mythical ancestor which is linked to fertility cults. Shiny red-brown patina. Very slight abrasions. The Vili, the Lâri, the Sûndi, the Woyo, the Bembé, the Bwende, the Yombé and the Kôngo constituted the Kôngo group, led by the ntotela king. 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.
Ref. : ...

Swiss African art collection.
African statuette Nkisi, nkishi (pl. mankishi) of the Songye whose face reproduces the kifwebe mask. The arms, whose hands surround the protruding abdomen, provide space to carefully grasp the sculpture using metal hooks, as dictated by custom.
Satin patina. Abrasions.
These protective fetishes for homes are among the most popular in Africa. The Nkisi plays the role of mediator between god and men, responsible for protecting against various evils. The large specimens are the collective property of an entire village, and the smaller figures belong to an individual or a family. In the 16th century, the Songyes migrated from the Shaba region to settle on the left bank of the Lualaba. Their society is organized in a patriarchal way. ...

Hemba tribal art statuette, carved in accordance with Hemba conventions, to highlight the ancestor's ability to intercede with the gods on behalf of men. Dark matte patina.

Generally made in iroko, this type of African sculpture for ritual use was venerated by a particular clan and stored in funerary premises in the chief's house.
The Hemba, established in the south-east of Zaire, on the right bank of the Lualaba, have long been subject to the neighboring Luba empire. The cult of ancestors, whose effigies have long been attributed to the Luba, is central in Hemba society. All aspects of the community are imbued with the authority of the ancestors. The singiti statues were preserved by the fumu mwalo and honored during ceremonies during which sacrifices were offered to ...

Polychrome naturalist statue of the Yoruba type. Communication with the afterlife rested on a maternal figure who embodied for the Yoruba people one of the many female goddesses, the goddess of the earth Onilé ("owner of the House"), guarantor of longevity, peace, and resources, and linked to the powerful Ogboni society among the Yoruba Egba and Ijebu. She could also embody Orunmila, goddess of divination.
Intended to be enthroned on an altar, this type of sculpture was venerated by the members of the powerful Ogboni society, or Osugbo, responsible for justice.
Abraded crusty patina, desiccation cracks.
Centered on the veneration of its gods, or orisà, the Yoruba religion relies on artistic sculptures with coded messages (aroko). The kingdoms of Oyo and Ijebu arose ...

Former Belgian collection of African art .
African mask testifying to the stage that its owner had reached within the Bwami, an apprenticeship society composed of different grades. Residues of kaolin and burgundy pigments. Erosions. Height including beard: 42 cm.br /> On the west bank of the Lualaba River, in the DRC, the Bwami society of the Lega, open to men and women, organized social and political life. There were up to seven levels of initiation, each associated with emblems. During ritual ceremonies, the Idumu masks were presented to the initiates placed on a barrier and surrounded by smaller masks. The teacher would lead the aspirant to a place where masks and statuettes were displayed, and it was through careful observation that the future initiate had to guess the ...

Belgian African art collection.
African mask appearing in Tanzania during the dance ceremonies of the dry season. Geometric lines accentuated by linear scarifications. Reddish matte patina, erosions. Height with base: 39 cm.
The Luo, Kuria, Haya and Ziba, the Kéréwé, Karagwé, Sukuma and Nyamézi are established in the central western and central region of Tanzania. Along the shores of Lakes Tanganyika and Nyasa, and Lake Nyassa, the Ha, Jiji, Bendé, Tongwé, Holoholo, Fipa, Manbwé, Kondé, Kisi and Ngoni produced figurative statues, terracotta sculptures and inset masks of teeth.

African mask of initiation, Mbuya, with large notched eyelids, an upturned nose, and an open mouth with sharp teeth. It has a natural fiber cap. Height on base: 45 cm.
The Pende Westerners live on the banks of the Kwilu, while the Easterners have established themselves on the banks of the Kasai downstream of Tshikapa. The influences of the neighboringethnic groups, Mbla, Suku, Wongo, Leele, Kuba and Salempasu have been imprinted on their large sculpture of tribal art. Within this diversity the realistic Mbuya masks, produced every ten years, have a festive function, and embody different characters difficult to differentiate without their costume, including the fumu chief. > or ufumu, the soothsayer and his wife, the prostitute, the jester, tundu, the possessed, etc... Mbuya ...

Collection of BelgianAfrican art, the name will be communicated to the buyer.
This African initiation mask, Mbuya, comes from the Pende of the West, where the Yaka influence is notable through the slightly upturned nose, and the line of the eyebrows recalls the features of the neighboring Chokwe. This mask symbolizes the masculine and feminine qualities of the leader. The Western Pende are established on the banks of the Kwilu, while the Eastern Pende reside on the banks of the Kasai downstream of Tshikapa. Their tribal sculpture is marked by the influence of neighboring ethnic groups such as Mbla, Suku, Wongo, Leele, Kuba and Salempasu.
Within this cultural diversity, the Mbuya masks, realistic and produced every ten years, have a festive function. They embody different ...

Mask offering the physiognomy of a primate. Kaolin residues. This sculpted work indicated the stage that its holder had reached within the Bwami, a learning society made up of different ranks, and which were joined by the wives whose husbands had reached the third level, that of ngandu . Height including beard: 48 cm. Within the Léga, the Bwami society, open to men and women, organized social and political life. There were up to seven initiation levels, each associated with emblems. Following their exodus from Uganda in the 17th century, the Lega settled on the west bank of the Lualaba River in DRC. During ritual ceremonies, Idumu masks were presented to initiates placed on a barrier and surrounded by smaller masks. The teacher guided the aspirant to a place where ...

Ex-German tribal art collection.
The stylized African art of the forest tribes
Cubic volumes and sharp features make up a certain dynamic for this primitive metoko statue, whose characteristics are similar to Thengola sculptures. A face cut in flat, with hollowed-out orbits in the heart, is divided into two tones taken from the spots painted on the character's body, reminiscent of the bichrome of Gabon's masks. The feet sink into a circular base. Cracks. This male cult effigy is from the Metoko and Lengola, located in the center of the Congolese basin between the Lomami and Lualaba rivers, peoples of the primary forest dedicated to the worship of a single God, rare monotheism in Africa. Their company, Bukota, welcoming both men and women, is the equivalent of the association ...