Arts of Africa, America and Oceania

Lot of five African statues of various origins (Nigeria, Togo, etc.) H. 33 to 55 cm

Set of two Asmat objects, Papua New Guinea: a wooden shield H. 210 cm and a wooden drum H. 140 cm

Lots of five dance masks and headdresses, West Africa: two Dogon masks (Mali), a Mossi mask and crest (Burkina Faso), an Ivory Coast headdress (?) H. 48 to 87 cm

Lot of ten fertility dolls, West Africa: three Namji style dolls (Cameroon), two Fali style dolls (Cameroon), four Mossi dolls (Burkina Faso), one Ashanti style doll (Ghana) H. 11 to 31 cm

This Mumuyé statue, from West Africa (Nigeria), is a classic piece of African art. It is carved from wood with a natural agglomerate patina. The statue depicts a standing figure with his arms at his sides. The face is minimalist but expressive, with large, round eyes. Mumuyé statues are known for their harmonious proportions and clean lines. They are often used to represent important figures, such as chiefs or warriors. This statue comes from the collection of Axel Daeseleire, a Belgian collector. It is in excellent condition. Weight: 1.87 kg Shipping unavailable Region: Afrique Sizes: H 820 MM L 170 MM Condition: At first glance: normal wear / patina of use

Yoruba door in painted wood, Nigeria H. 140 - L. 65 cm

This large standing Kuba female statue is an exceptional piece. It has an exceptional patina and measures approximately 40 cm in height. The statue represents a standing woman, with her hands on her abdomen. She bears multiple scarifications on her neck, body and legs. The statue comes from a former colonial collection and has a magnificent patina. It dates from the late 19th or early 20th century. The Kuba are a Central African people who live mainly in the Democratic Republic of Congo. Their art is characterized by geometric shapes and abstract motifs. Scarification is an important element of Kuba culture. They are used to mark membership of a social group or clan. This statue is a rare and precious work of art. It is destined for a discerning collector who will appreciate its beauty, cultural significance and history.   Weight: 1.24 kg Shipping available Region: Afrique RDC Sizes: H 400 MM L 110 MM Type of object: Sculpture Condition: At first glance: normal wear / patina of use

Maternity - Maternity, wooden sculpture representing a female figure holding a child, Congolese - Yombe, 19th/20th C., minor defects, Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 5 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 12. Original work available at http://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 1, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Maternidade»: "Protective image (Ntadi), with supernatural strength (Nkissi); dedicated to the spirit Mumaza, to prevent the sterility of its owner and his family, called «ngudi ye muana masa". It is kept in the «Ngudi a nzo» (mother place), that is, the conjugal room of the head of the family, a secret and inviolable place of intimate life, where only the head of the family and the woman who accompanied him could enter, or whoever he authorized. The woman has colloidal tattoos, generically called «Nsamba» [...]. She has a pointed cap on her head, known as "N'sumba" and, over her breasts, a double cord with a large cylindrical bead, which only consecrated chiefs could have. The use of this bead is in disagreement with the type of cap, which is different from the «Mpu», exclusive to the families of consecrated chiefs. The tattoo, the cap and the bead are the 2nd degree formal elements that place the image in the ontological order of the living, but do not individualize it. [...] Purchased in 1966, in exchange for a Muana Pwó mask, of very good quality, purchased in 1965 in the Lovua region, Luanda, from [...] Rodrigo Dinis, an employee of the C.F.B, in Lobito. He who had painted the statuette in Repe black ink (water ink) and informed that it had been taken to Portugal at the end of the 19th century by his uncle José Caetano Correia Henrique, who was in service in Angola as an army officer" - Cf. Bibliography referred to by collector: (possibly) VERLY, Robert - "Les mintadi: la statuaire de pierre du Bas-Congo (Bamboma-Mussurungo)". Louvain: Revue Zaïre, 1955; JAHN, Janheinz - "Muntu: African Culture and the Western World". Paris: editions du Seuil, 1961; and his article SILVA, Elísio Romariz dos Santos - "A Escultura Negro Africana Vista à Luz da Filosofia Banta" published in "Boletim Cultural do Huambo", nº 26. Nova Lisboa [Huambo]: Serviços Culturais do Município de Nova Lisboa [Huambo], 1971, pp. 11-20, available in http://memoria-africa.ua.pt/Library/ShowImage.aspx?q=/BCHuambo/BCHuambo-026&p=10, consulted the 11 de Março de 2023 às 14:30. Vd. «Maternity sculptures in LAGAMMA, Alisa - "Kongo - Power and Majesty". New Haven: Yale University Press, 2015, pp. 40-41, 70-71 and 180-181, figs. 15, 38 and 122; and in LEHUARD, Raoul - "Les Phemba du mayombe - Collection Arts D'Afrique Noire". Arnouville: Arts d'Afrique Noire, 1977, pp. 47, 77 and 119, nºs 10 and 26. "[...] these maternities - in search of the idealized representation of female beauty - sometimes of excellent craftsmanship, were carved in large numbers on the coast of Loango and Cabinda, in the second half of the 19th century, on the occasion of a new popular cult of «nkisi» - known as «mpemba» - favorable for the treatment of gynecological problems" - cf. and vd. the catalog "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia, 1994, p. 66, nº 12. A similar example is part of the collection of the Museu Nacional de de Etnologia, with the number AO.907 - vd. http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=1125006, consultado a 18.08.2023 às 12:03., Dim. - 27 cm

A «Salampassu» mask - A «Salampassu» mask, wood, copper, fibers, pigment traces, Democratic Republic of Congo, 20th C. (mid), minor faults and defects, purchased from a merchant of Luau (former Teixeira de Sousa - border with the Kalanga), who had brought it from Sandoa (Katanga), in 1966, Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 16, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara - Asalampasu»: "Purchased [...] to a merchant from Luau [former Teixeira de Sousa] (border with the Kalanga), which he had brought from Sandoa (Katanga) in 1966". Another «Salampassú» mask is represented in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 153, nº 15., Dim. - (total) 51 cm

PAIR OF STATUETTES in the Ibedji style. Wood, blue pigments, pearls, cowries. Nigeria, 20th century Height: 26 cm

Theodore Roosevelt Handwritten Manuscript on Native Americans - Handwritten manuscript by Theodore Roosevelt from his original draft for the four-volume The Winning of the West, one page, 8 x 12.5, no date but first published in 1889. This text, offering Roosevelt's observations on frontier justice amongst Native American Indian tribes, would be published as part of Volume I, Chapter IV: The Algonquins of the Northwest, 1769-1774. Roosevelt writes, in part: "Each race stood by its own members, and each held all of the other race responsible for the misdeeds of a few uncontrollable spirits; and this clannishness among those of one color, and the refusal or the inability to discriminate between the good and the bad of the other color were the two most fruitful causes of border strife. [Footnote: It is precisely the same at the present day. I have known a party of Sioux to steal the horses of a buffalo hunting outfit; and the latter retaliated by stealing the horses of a party of harmless Grosventres: and I knew a party of Cheyennes, whose horses had been taken by white thieves, to, in revenge, assail a camp of perfectly orderly cowboys. Most of the ranchmen along the Little Missouri in 1884 were pretty good fellows, who would not wrong Indians, yet they tolerated for a long time the presence of men who did not scruple to boast that they stole horses from the latter; while our peaceful neighbors, the Grosventres, likewise permitted two notorious redskinned horse thieves to use their reservation as a harbor of refuge, and the starting point from which to make forays against the cattlemen.] When, even if he sought to prevent them, the innocent man was sure to suffer for the misdeeds of the guilty, unless both joined together for defence, the former had no alternative save to make common cause with the latter. Moreover, in a sparse backwoods settlement, where the presence of a strong, vigorous fighter was a source of safety to the whole community, it was impossible to expect that he would be punished with severity for offences which, in their hearts, his fellow townsmen could not help regarding as in some sort a revenge for the injuries they had themselves suffered. Every quiet, peaceable settler had either himself been grievously wronged, or had been an eyewitness to wrongs done to his friends; and while these were vivid in his mind, the corresponding wrongs done the Indians were never brought home." In fine condition, with light soiling. But for minor grammatical changes—and some struck-through emendations and revisions made to this text—this manuscript page represents the published text from Roosevelt's monumental history of the American West. Roosevelt was a prolific author and, in fact, had first come to prominence as a serious historian with the two-volume work The Naval War of 1812. He turned to writing The Winning of the West, his most ambitious work, after suffering defeat in the 1886 election for mayor of New York City. Tracing the history of American westward expansion, it was first published in four volumes by G. P. Putnam's Sons between 1889 and 1896.

Tiwara zoomorphic CIMIER featuring an antelope with carved geometric motifs. Wood, brass, leather Mali Height: 40 cm

Kagba mask, Senoufo, Mali H: 82 cm.

AFRICAN ARTS Reunion of 7 blackened carved wood sculptures decorated with figures and animals Height of the largest: 26 cm Lots may be collected by appointment on Wednesday, October 11, 2023, at the Auction House (Métro : Sèvres-Lecourbe).

A mortar - A mortar, wood, carved decoration "Geometric motifs"., Angolan - Tshokwe, 20th C. (1st half), minor faults, chips, wear, purchased at Sanzala Muata Sabumbo - Soba Matassambuia, Posto do Lóvua, Municipality of Chitato, Lunda, in June 1965, Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 68, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Gral»: "This type of mortar (Tebino teha milungo) is used for trampling spice plants for the kitchen. [...] The upper part of the Gral [...] is decorated with a frieze divided into 4 parts by diametrically opposite projections, one of them is crossed by a hole through which a thread would pass in order to be suspended. Between these protusions there is a decoration made with carvings, the four panels being different. Next to the foot strangulation there are two grooves. Purchased at Sanzala Muata Sabumbo - Soba Matassambuia, Posto do Lóvua, Municipality of Chitato, Lunda, in June 1965 [...]". Mortars with partly identical decoration are represented in REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 35; and in REDINHA, José - "Campanha Etnográfica ao Tchiboco (Alto-Tchicapa) - Anotações e Documentação gráfica", volume 2. In "Diamag - Publicações Culturais nº 19". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1955, p. 106, nº 15., Dim. - 13 cm

EMPIRE OTTOMAN Pistolet à silex. Fabrication pour le marché oriental. Long.: 48,5cm (Canon cassé).

THREE STATUETTES, two male and one female. Wood. Baule or Agni, RCI. Height: 24 to 31 cm

A praying figure - A praying figure, wood, Mozambican - Makonde, 20th C. (1st half), chips, minor faults and defects, wear, patina wear, purchased in the city of Beira (Mozambique), in 1945-1947, Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 20, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Estatueta»: "Represents a missionary saying the Mass - Possibly in adoration. (...) Purchased by my father, while he was in the city of Beira as Juiz da Comarca between 1945/47"., Dim. - 22 cm

A kisanji - A kisanji, wood and iron lamellophone, carved decoration "Cauris", Angolan - Tshokwe, 20th C. (mid), small cracks, minor defects, patine wear, purchased at Lumeje on 30-05-1970, Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 136, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Quissanje Kakolondondo»: "Decoration: rectangle with 3 incisions on the contour with inside arcs of circumference forming a design inspired by the «Cauries», which in time served as currency. According to J. Redinha, the name of this kissanji derives from its crystalline sounds, such as the voices of girls. [...] Purchased at Lumeje on 30.5.70 [...]." Cf. Bibliography referred to by the collector - REDINHA, José - "Campanha Etnográfica ao Tchiboco (Alto-Tchicapa) - Anotações e Documentação gráfica", volume 2. In "Diamag - Publicações Culturais nº 19". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1955, p. 20, where it is mentioned that "Kisanjis or Hand Pianos - There are different types found in Tchiboco […] This fact is explained by the reason that the kissanjis are objects that travel far in the hands of walkers, who use their compass to make walking easier. It happens, from time to time, that they leave them at the most diverse points, exchanged for articles, given or sold." Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 12 x 8,2 x 0,7 cm

Bambara crest mask, Mali Wood

A hatchet - A hatchet, wood, iron and other metals, Angolan, 20th C., in need of union resin, minor faults and defects, major patina wear, Provenance: Collection of Engineer Elísio Romariz dos Santos Silva “Finely crafted musical instruments, combs, pipes, axes and stools may include elaborate figurative and/or abstract motifs and belong to whoever can afford to obtain them” - cf. JORDÁN, Manuel - “Os Tshokwe e Povos Aparentados”. In “Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa”. Lisboa: Museu Nacional de Etnologia, 2000, p. 114., Dim. - 28,5 cm

Four different combs - Four different combs, wood, carved and pierced decoration "Geometric motifs", Angolans - Tshokwe (related peoples), 20th C. (mid), minor defects, patina wear, purchased: on the outskirts of Luena (former Luso), in 1967; two in Cangumbe, in 1968; and in Lubango (former Sá da Bandeira), in 1969, Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, these combs correspond to items numbered 100, 104, 107 and 132 mentioned in the notebook of the collector «Angola - Arte Negra, relação e descrição das peças». Items nº 100, 104 and 107 are each identified as «Txissaculo», item nº 132 is identified only as «Comb». Item No. 100 is mentioned, containing a "Crosspiece decorated with incisions, triangular on one side and semi-circular on the other. Crosspiece surmounted by 3 small rods" [...] Purchased on the outskirts of Luena [former Luso] in 1967 [. ..]. No. 104 is described in the notebook, containing a "Crosspiece decorated with incisions, surmounted by two stems in the shape of an elephant's foot. [...] Purchased in Cangumbe, in 1968 [...]." Item number 107 is also mentioned in the collector's notebook, containing a "Crosspiece decorated with incisions; herringbone on one side and horizontal and crossed on the other side; surmounted by a rod in the shape of a lizard's head [...]. Purchased in Cangumbe in 1968 [...]." Item nº 132 is described, containing an "M-shaped crosspiece, decorated with incisions, forming an "M" and a triangle; the crosspiece is pierced by two symmetrical cuts (><). Decoration on one side only. [...] Purchased in Lubango [former Sá da Bandeira] in 1969 [...]." Other combs are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 157; em JORDÁN, Manuel. “Chokwe!- Art and Initiation Among Chokwe and Related Peoples”. Munich/London/New York: Prestel-Verlag, 1998, p. 63, nº 52; em BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 242, nº 164; and in the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 46., Dim. - (o maior) 18,2 cm

A Kisanji - A Kisanji , a wood and iron lamellophone, double lamella frieze, engraved decoration "Geometric motifs", partly representing the «Capuita» symbol, lower lamellae with wax compound for tuning, Angolan - Tshokwe, 20th C. (1st half), minor defects, patine wear, back with signature of Soba MUFUPO, purchased in Lumeje on 5-30-1970, from soba Mufupo (Luena), Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 1 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 10. Original work available at http://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16 am. Item number 137, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças» , identified there as «Quissanje  Lungando»: "Decoration: 4 rectangles juxtaposed with equal decorations along the diagonals. The upper left and lower right with the motif «Capuita» (see nº5); the other two with skewed chess squares forming small lozenges with an excavated centre. On the back face, another «Capuita» symbol with ornamentation different from those on the face, within a rectangle [...]. Below this rectangle is roughly engraved(?) the signature of its owner "Mufupo". According to Redinha, the designation of this type of kisanji derives from its low sound. [...] Purchased in Lumeje on 30.5.70, from Soba Mufupo (Luena) [...]." Cf. bibliography referred to by the collector - REDINHA, José - "Campanha Etnográfica ao Tchiboco (Alto-Tchicapa) - Anotações e Documentação gráfica", volume 2. In "Diamag - Publicações Culturais nº 19". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1955, p. 20. "Finely crafted musical instruments, combs, pipes, axes and stools may include elaborate figurative and/or abstract motifs and belong to whoever can afford to obtain them." - cf. JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". Lisboa: Museu Nacional de Etnologia, 2000, p. 114. Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 26,6 x 14,8 x 0,9 cm

Grand Tapa polynésien Toile végétale avec impression d'un décor ocre d'animaux. (Plié)

Convolute 5 fully sculptural figures,partly in ebony and 10 other partly figural objects, African and East Asian arts and crafts of the 20th century,together

A «Muila» dance staff - A «Muila» dance staff, wood, leather, beads, buttons, metal, carved staff top "Torso and head of woman with trilobed hairstyle"., Angolan - Lubango - Huila, 20th C. (1st half), fault on one of the arms of the sculpture, fracture, possibly later leather, major patina wear, other small faults and defects, purchased at an exhibition of handicrafts held in Luanda, on the Marginal, by the Instituto do Trabalho, in August 1966, Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 60, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Bastão de dança Muila (?) - Itanda (?) »: "The staff is surmounted by a half body with two arms, one of which, the left one, is 'broken'. The head, with a trilobed hairstyle, is ornamented with brass metal studs [...]. Covering the body is a leather cover, made up of three pieces; the central one over the others [...]. Purchased at an exhibition of Handicrafts held in Luanda, on the Marginal, by the Instituto do Trabalho, in August 1966 [...]. This item's file (1751) did not specify the ethnicity of its author and owner - Chimbindua, from the village of Hoque, Posto do Hoque, Municipality of Lubango, District of Huíla". "The staffs that represent unique figures (often female) usually represent the ancestral spirit that protects the respective owner […]" - cf. JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". Lisboa: Museu Nacional de Etnologia, 2000, p. 109., Dim. - 39 cm

Convolute 14 parts African jewelry and hoops, partly bronze,brass and brass nickel plated,together

Sculpture "Male figure",finely decorated,bronze,hollow processed,partially damaged,height with marble base about 127cm

Seated statuette with calabash, Congo? H: 66 cm.

Baule statuette, Ivory Coast H : 34 cm.

Nkisi kongo fetish reliquary, wood and nails, style Set of African masks: Dan, Bambara, Dogan, etc. (in style)

Coupe en bois sculpté décoré de deux personnages zoomorphe tenant la coupe. XXè siècle. Larg.: 29cm

African ritual bowl in crocodile form - probably Cameroon, West Africa, early 20th century, reclining animal grasping a pole, black patinated hardwood with white bead decoration and eyes of mother-of-pearl, l 46cm, age patina

A Dogon ladder (Mali) and 2 architectural elements H. 152 cm to 240 cm

An Igbo alusi statue, Nigeria H. 123 cm

Set of three wooden doors: a Dogon door, Mali, a Baule door, Ivory Coast and a Toraja granary door, Indonesia H. 50 cm to 140 cm

Two earthenware jars, Kurumba and Mossi, Burkina Faso H. 74 and 48 cm

Lot of three artefacts: a funerary post (Madagascar), a Yoruba sword (Nigeria), an asen (Benin) and a Topoke coin H. 119 to 165 cm

Two toguna hut posts, Dogon, Mali H. 135 and 174 cm

Set of five Baba Abelam fiber masks, Papua New Guinea H. 21 to 50 cm

Lot of five objects from New Guinea: a Sepik drum front, an Asmat bow, a Massim sculpture, a Sepik pole, and a Sepik sculpture H. 47 to 110 cm

Set of four African wooden masks: a Makonde mask (Tanzania), two Bambara masks (Mali), a Bidjogo crest mask (Guinea Conakry) H. 20 to 33 cm

Lot of seven Fon wood objects, Benin Republic H. 19 to 59 cm

Two Mossi fertility dolls, Burkina Faso, wood and leather H. 43 and 40 cm

Lot of four Dogon objects: a cane-tabouret, two thief's sticks, a recade. Also included is a votive adze, possibly Fon, Benin (?) H. 52 to 71 cm

This kifwebe hut mask is a rare and precious piece of African art. It was carved around 1930 by an artist from the Songye culture, an ethnic group in the Democratic Republic of Congo. The mask is made of wood and painted black and red. It depicts a stylised human face with features typical of the Songye culture, such as almond-shaped eyes and thick lips. Kifwebe hut masks were used in Songye religious ceremonies. They were supposed to represent the ancestors and were used to communicate with them. The masks were also used to protect houses and their inhabitants from bad luck. This mask is a fine example of African art. It is both beautiful and powerful. It is also a testimony to the richness of the Songye culture. This mask is destined for a discerning collector who will appreciate its historical and artistic importance. Weight: 480 g Shipping available Region: Afrique Sizes: H 390 MM L 180 MM Condition: At first glance: good condition

Lot of seven terracotta objects and fragments, West Africa, including an acephalous Nok statue (Nigeria) H. 16 to 28 cm

Set of two Asen Fon irons, Benin and an Ofo statue, Nigeria H. 29 to 38 cm

Lot of three objects: a Lotuko helmet (DRC), a Dogon-style mask, and a Bura terracotta H. 22 to 48 cm

Two small Dogon-style wooden altars, Mali H. 18 and 24 cm