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HAMMER 132 / Important African Art

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Lot 1 - Jean-Louis Rinsoz's Headpiece, "sika kle" - Headdress by Jean-Louis Rinsoz, "sika kle" Baule, Côte d'Ivoire Ohne Sockel / without base Textile, wood, gold foil. H 13 cm. Ø 18.5 cm. Provenance: - Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs Jean-Louis Rinsoz, French-speaking Switzerland. This royal headdress, known as a "sika kle", was worn by Jean-Louis Rinsoz in 1970 at a court ceremony to mark his appointment as Notable of Baule in front of an assembled audience. The motifs sewn onto the velvet, carved from wood and covered in gold leaf, are allegorical sayings that refer to the praiseworthy qualities of the wearer. Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 300 / 600 Weight in grams: 125 Condition: Gold foil partially damaged or missing (see photos). Gold foil partially damaged or missing (see photos). -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog

Estim. 300 - 600 CHF

Lot 2 - Jean-Louis Rinsoz's Ceremonial Staff, "okyeame poma" - Dignity stick by Jean-Louis Rinsoz, "okyeame poma" Baule, Côte d'Ivoire Ohne Sockel / without base Wood, gold foil, textile. H 143 cm. Provenance: - Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. This baton of dignity, known as an "okyeame poma", was presented to Jean-Louis Rinsoz in 1970 at a court ceremony to mark his appointment as Notable of Baule in front of an assembled audience. High-ranking dignitaries, e.g. regional princes, village chiefs or tribal elders - have a rich repertoire of visible symbols of office. These insignia often included elaborately carved staffs of office, which were sometimes passed down as heirlooms within the royal line. Their use is varied and their symbolism complex. They are used, for example, simply as a support, as a protective instrument, for poking, prodding and pushing, for waving and waving goodbye or generally to give signs. They are also metaphorical extensions of the hand and emphasize the presence of ancestors in conversations. They illustrate the owner's ancestry and are presented at public appearances. In some places, an oath is also sworn on them when dignitaries are inaugurated. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 400 / 800 Weight in grams: 500 Condition: Gold foil partially damaged or missing (see photos). Gold foil partially damaged or missing (see photos). -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other impairments and signs of age, etc.) of this lot can be seen in the photos we have taken for your information.

Estim. 400 - 800 CHF

Lot 3 - Jean-Louis Rinsoz's Ceremonial Whisk, "nandwa blawa" - Ceremonial frond by Jean-Louis Rinsoz, "nandwa blawa" Baule, Côte d'Ivoire Ohne Sockel / without base Hair, wood, gold foil. H 110 cm. Provenance: - Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. This ceremonial frond, known as a "nandwa blawa", was presented to Jean-Louis Rinsoz in 1970 at a court ceremony to mark his appointment as Notable of Baule in front of an assembled audience. Among the Baule, the "nandwa blawa" is a ceremonial duster and royal sign of dignity from the family heritage of a ruling clan called "aja". Ceremonial fronds are still presented publicly at ceremonies as an outward sign of rank and affiliation. They symbolize the unity of the family and its identity. "We cannot live without beautiful things" - this statement by an Akan could also come from the mouth of a Western art lover. In general, the Akan people, to which the Baule also belong, value the use of proverbs as a means of expression. Fronds, for example, are associated with the proverb "Money is like a flywhisk; an individual cannot hold it", which emphasizes the advantage of a community. Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 300 / 600 Weight in grams: 400 Condition: Gold foil partially damaged or missing (see photos). Gold foil partially damaged or missing (see photos). -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (any wear and tear, signs of use, cracks, any other damage and the condition of the item) is subject to change.

Estim. 300 - 600 CHF

Lot 4 - Jean-Louis Rinsoz's Headband, "abotire" - Headband crown by Jean-Louis Rinsoz, "abotire" Baule, Côte d'Ivoire Ohne Sockel / without base Textile, gold alloys. H 8.5 cm. Ø 21 cm. Provenance: - Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. This headband, known as an "abotire", was presented to Jean-Louis Rinsoz in 1970 at a court ceremony to mark his appointment as a Baule notable in front of an assembled audience. Headbands, commonly known as crowns, are worn by regents at ceremonial festivities as a sign of rank and belonging. The motifs sewn onto the velvet, carved from wood and covered in gold leaf are allegorical sayings that refer to the wearer's praiseworthy qualities. Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 1 000 / 2 000 Weight in grams: 190 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog

Estim. 1 000 - 2 000 CHF

Lot 5 - A Baule Jewelry Ornament, "srala", mounted as a Brooch - Jewelry ornament, "srala", mounted as a brooch Baule, Côte d'Ivoire Ohne Sockel / without base Gold alloy. W 6.5 cm. L 10 cm. Provenance: - Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Flat, rectangular decorative elements ("srala") depict miniatures of woven shields or woven doors. Worn on the chest, the valuable piece of jewelry protects the wearer ("shield bead") and symbolizes that they can open or close themselves to the other person ("door bead") depending on the situation. ----------------------------------------------------- For centuries, the valuable precious metal from the former "Gold Coast" of Africa was the object of interest and desire of African and European merchants. Trade led to the rise of powerful states whose wealth and skill in gold processing became legendary. The royal courts of the Akan produced masterful pieces of jewelry using highly developed manufacturing processes, especially lost wax casting. "We cannot live without beautiful things" - this statement by a Baule could also have come from the mouth of a Western art lover. Surrounding themselves with attractive objects was as fundamental a concern for the Baule in Côte d'Ivoire as it was for Western collectors of African art. This Baule approach to life was expressed in finely crafted ritual figures as well as in lovingly decorated everyday objects and jewelry. Even today, the gold jewelry serves as a sign of rank and affiliation of the royal families. The powerful expressiveness of these unique pieces reflects the rich metaphors of the Akan and is based on the tradition of the highly esteemed art of oratory. The motifs depicted always refer to people, animals or objects that allegorically represent praiseworthy qualities and sayings. Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 1 000 / 2 000 Weight in grams: 77 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition

Estim. 1 000 - 2 000 CHF

Lot 6 - A Baule Jewelry Ornament, "tadae", mounted as a Brooch - Decorative disk, "tadae", mounted as a brooch Baule, Côte d'Ivoire Ohne Sockel / without base Gold alloy. Ø 7 cm. Provenance: - Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Disc-shaped jewelry elements ("tadae"), also known as soul-bearer's discs, are worn individually or in combination with others as necklaces. The sun symbol allegorically stands for the radiant soul of the ruler and is said to protect the wearer from harm. ----------------------------------------------------- For centuries, the valuable precious metal from the former "Gold Coast" of Africa was the object of interest and desire of African and European merchants. Trade led to the rise of powerful states whose wealth and skill in gold processing became legendary. The royal courts of the Akan produced masterful pieces of jewelry using highly developed manufacturing processes, especially lost wax casting. "We cannot live without beautiful things" - this statement by a Baule could also have come from the mouth of a Western art lover. Surrounding themselves with attractive objects was as fundamental a concern for the Baule in Côte d'Ivoire as it was for Western collectors of African art. This Baule approach to life was expressed in finely crafted ritual figures as well as in lovingly decorated everyday objects and jewelry. Even today, the gold jewelry serves as a sign of rank and affiliation of the royal families. The powerful expressiveness of these unique pieces reflects the rich metaphors of the Akan and is based on the tradition of the highly esteemed art of oratory. The motifs depicted always refer to people, animals or objects that allegorically represent praiseworthy qualities and sayings. Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 1 000 / 2 000 Weight in grams: 52 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an

Estim. 1 000 - 2 000 CHF

Lot 7 - A Baule Jewelry Ornament, 'srala', with matching Necklace - Jewelry ornament, "srala", with matching necklace Baule, Côte d'Ivoire Ohne Sockel / without base Gold alloy, glass beads. L 49 cm. Provenance: - Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs Jean-Louis Rinsoz, French-speaking Switzerland. Flat, rectangular decorative elements ("srala") depict miniatures of woven shields or woven doors. Worn on the chest, the valuable piece of jewelry protects the wearer ("shield bead") and symbolizes that they can open or close themselves to the other person ("door bead") depending on the situation. ----------------------------------------------------- For centuries, the valuable precious metal from the former "Gold Coast" of Africa was the object of interest and desire of African and European merchants. Trade led to the rise of powerful states whose wealth and skill in gold processing became legendary. The royal courts of the Akan produced masterful pieces of jewelry using highly developed manufacturing processes, especially lost wax casting. "We cannot live without beautiful things" - this statement by a Baule could also have come from the mouth of a Western art lover. Surrounding themselves with attractive objects was as fundamental a concern for the Baule in Côte d'Ivoire as it was for Western collectors of African art. This Baule approach to life was expressed in finely crafted ritual figures as well as in lovingly decorated everyday objects and jewelry. Even today, the gold jewelry serves as a sign of rank and affiliation of the royal families. The powerful expressiveness of these unique pieces reflects the rich metaphors of the Akan and is based on the tradition of the highly esteemed art of oratory. The motifs depicted always refer to people, animals or objects that allegorically represent praiseworthy qualities and sayings. Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 400 / 800 Weight in grams: 37 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any conditio

Estim. 400 - 800 CHF

Lot 8 - A Baule Figure, "blolo bla" - Figure, "blolo bla" Baule, Côte d'Ivoire Ohne Sockel / without base Wood, glass beads. H 43 cm. Provenance: - Center des Sciences Humaines, Abidjan. - 1969: Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Exhibited: Africa 69, Arts de la Côte-d'Ivoire et de l'Afrique occidentale. Vevey (1969). "We can't live without beautiful things" - this statement by a Baule could also have come from the mouth of a Western art lover. Surrounding themselves with attractive objects was as fundamental a concern for the Baule in Côte d'Ivoire as it was for Western collectors of African art. This Baule approach to life was expressed in finely crafted ritual figures as well as in lovingly decorated everyday objects. The classification of the figures called "waka sran" (also "waka-sona") (waka = wood, sran or sona = person, statue, idol) is difficult outside of the social context and in retrospect. In general, a distinction is made between symbolic partners from the "other world" and divination figures, although the boundary between these groups was often blurred. The loving blolo-bla and blolo-bian figures are based on the idea that every Baule has a spiritual partner in the afterlife (blolo = other world), i.e. a wife (bla) or a husband (bian), and must strive to live in the best possible relationship with them. If he does not succeed in this, his partner in the other world will make life difficult for him. The more sacrificial "divination figures" are called asye-usu and are associated with all untamed things of nature. They were used in ritual acts to attract the attention of the bush spirits. These omnipresent beings always had to be appeased, also because they were considered to be extremely capricious and could occasionally take possession of the unwary. Further reading: Vogel, Susan M. (1997). Baule. Yale: University Press. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 2 000 / 4 000 Weight in grams: 818 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is o

Estim. 2 000 - 4 000 CHF

Lot 9 - A Baule Figure, "blolo bla" - Figure, "blolo bla" Baule, Côte d'Ivoire Mit Sockel / with base Wood, textile. H 35 cm. Provenance: - Center des Sciences Humaines, Abidjan. - 1969: Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Exhibited: Africa 69, Arts de la Côte-d'Ivoire et de l'Afrique occidentale. Vevey (1969). "We can't live without beautiful things" - this statement by a Baule could also have come from the mouth of a Western art lover. Surrounding themselves with attractive objects was as fundamental a concern for the Baule in Côte d'Ivoire as it was for Western collectors of African art. This Baule approach to life was expressed in finely crafted ritual figures as well as in lovingly decorated everyday objects. The classification of the figures called "waka sran" (also "waka-sona") (waka = wood, sran or sona = person, statue, idol) is difficult outside of the social context and in retrospect. In general, a distinction is made between symbolic partners from the "other world" and divination figures, although the boundary between these groups was often blurred. The loving blolo-bla and blolo-bian figures are based on the idea that every Baule has a spiritual partner in the afterlife (blolo = other world), i.e. a wife (bla) or a husband (bian), and must strive to live in the best possible relationship with them. If he does not succeed in this, his partner in the other world will make life difficult for him. The more sacrificial "divination figures" are called asye-usu and are associated with all untamed things of nature. They were used in ritual acts to attract the attention of the bush spirits. These omnipresent beings always had to be appeased, also because they were considered to be extremely capricious and could occasionally take possession of the unwary. Further reading: Vogel, Susan M. (1997). Baule. Yale: University Press. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 2 000 / 4 000 Weight in grams: 535 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an o

Estim. 2 000 - 4 000 CHF

Lot 10 - A Baule Seated Figure - Seated figure Baule, Côte d'Ivoire Ohne Sockel / without base Wood. H 49 cm. Provenance: - Center des Sciences Humaines, Abidjan. - 1969: Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Exhibited: Africa 69, Arts de la Côte-d'Ivoire et de l'Afrique occidentale. Vevey (1969). "We can't live without beautiful things" - this statement by a Baule could also have come from the mouth of a Western art lover. Surrounding themselves with attractive objects was as fundamental a concern for the Baule in Côte d'Ivoire as it was for Western collectors of African art. This Baule approach to life was expressed in finely crafted ritual figures as well as in lovingly decorated everyday objects. The classification of the figures called "waka sran" (also "waka-sona") (waka = wood, sran or sona = person, statue, idol) is difficult outside of the social context and in retrospect. In general, a distinction is made between symbolic partners from the "other world" and divination figures, although the boundary between these groups was often blurred. The loving blolo-bla and blolo-bian figures are based on the idea that every Baule has a spiritual partner in the afterlife (blolo = other world), i.e. a wife (bla) or a husband (bian), and must strive to live in the best possible relationship with them. If he does not succeed in this, his partner in the other world will make life difficult for him. The more sacrificial "divination figures" are called asye-usu and are associated with all untamed things of nature. They were used in ritual acts to attract the attention of the bush spirits. These omnipresent beings always had to be appeased, also because they were considered to be extremely capricious and could occasionally take possession of the unwary. Further reading: Vogel, Susan M. (1997). Baule. Yale: University Press. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 20 000 / 30 000 Weight in grams: 2100 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinio

Estim. 20 000 - 30 000 CHF

Lot 11 - A Baule Figure, "blolo bla" - Figure, "blolo bla" Baule, Côte d'Ivoire Mit Sockel / with base Wood, plastic beads, textile. H 35 cm. Provenance: - Center des Sciences Humaines, Abidjan. - 1969: Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Exhibited: Africa 69, Arts de la Côte-d'Ivoire et de l'Afrique occidentale. Vevey (1969). "We can't live without beautiful things" - this statement by a Baule could also have come from the mouth of a Western art lover. Surrounding themselves with attractive objects was as fundamental a concern for the Baule in Côte d'Ivoire as it was for Western collectors of African art. This Baule approach to life was expressed in finely crafted ritual figures as well as in lovingly decorated everyday objects. The classification of the figures called "waka sran" (also "waka-sona") (waka = wood, sran or sona = person, statue, idol) is difficult outside of the social context and in retrospect. In general, a distinction is made between symbolic partners from the "other world" and divination figures, although the boundary between these groups was often blurred. The loving blolo-bla and blolo-bian figures are based on the idea that every Baule has a spiritual partner in the afterlife (blolo = other world), i.e. a wife (bla) or a husband (bian), and must strive to live in the best possible relationship with them. If he does not succeed in this, his partner in the other world will make life difficult for him. The more sacrificial "divination figures" are called asye-usu and are associated with all untamed things of nature. They were used in ritual acts to attract the attention of the bush spirits. These omnipresent beings always had to be appeased, also because they were considered to be extremely capricious and could occasionally take possession of the unwary. Further reading: Vogel, Susan M. (1997). Baule. Yale: University Press. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 4 000 / 8 000 Weight in grams: 929 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a cl

Estim. 4 000 - 8 000 CHF

Lot 12 - A Baule Figure, "blolo bla" - Figure, "blolo bla" Baule, Côte d'Ivoire Mit Sockel / with base Wood, glass beads, hair. H 43.5 cm. Provenance: - Center des Sciences Humaines, Abidjan. - 1969: Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Exhibited: Africa 69, Arts de la Côte-d'Ivoire et de l'Afrique occidentale. Vevey (1969). "We can't live without beautiful things" - this statement by a Baule could also have come from the mouth of a Western art lover. Surrounding themselves with attractive objects was as fundamental a concern for the Baule in Côte d'Ivoire as it was for Western collectors of African art. This Baule approach to life was expressed in finely crafted ritual figures as well as in lovingly decorated everyday objects. The classification of the figures called "waka sran" (also "waka-sona") (waka = wood, sran or sona = person, statue, idol) is difficult outside of the social context and in retrospect. In general, a distinction is made between symbolic partners from the "other world" and divination figures, although the boundary between these groups was often blurred. The loving blolo-bla and blolo-bian figures are based on the idea that every Baule has a spiritual partner in the afterlife (blolo = other world), i.e. a wife (bla) or a husband (bian), and must strive to live in the best possible relationship with them. If he does not succeed in this, his partner in the other world will make life difficult for him. The more sacrificial "divination figures" are called asye-usu and are associated with all untamed things of nature. They were used in ritual acts to attract the attention of the bush spirits. These omnipresent beings always had to be appeased, also because they were considered to be extremely capricious and could occasionally take possession of the unwary. Further reading: Vogel, Susan M. (1997). Baule. Yale: University Press. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 4 000 / 8 000 Weight in grams: 1289 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client,

Estim. 4 000 - 8 000 CHF

Lot 13 - A Baule Figure, "blolo bla" - Figure, "blolo bla" Baule, Côte d'Ivoire Mit Sockel / with base Wood, glass beads, textile. H 31 cm. Provenance: - Center des Sciences Humaines, Abidjan. - 1969: Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Exhibited: Africa 69, Arts de la Côte-d'Ivoire et de l'Afrique occidentale. Vevey (1969). "We can't live without beautiful things" - this statement by a Baule could also have come from the mouth of a Western art lover. Surrounding themselves with attractive objects was as fundamental a concern for the Baule in Côte d'Ivoire as it was for Western collectors of African art. This Baule approach to life was expressed in finely crafted ritual figures as well as in lovingly decorated everyday objects. The classification of the figures called "waka sran" (also "waka-sona") (waka = wood, sran or sona = person, statue, idol) is difficult outside of the social context and in retrospect. In general, a distinction is made between symbolic partners from the "other world" and divination figures, although the boundary between these groups was often blurred. The loving blolo-bla and blolo-bian figures are based on the idea that every Baule has a spiritual partner in the afterlife (blolo = other world), i.e. a wife (bla) or a husband (bian), and must strive to live in the best possible relationship with them. If he does not succeed in this, his partner in the other world will make life difficult for him. The more sacrificial "divination figures" are called asye-usu and are associated with all untamed things of nature. They were used in ritual acts to attract the attention of the bush spirits. These omnipresent beings always had to be appeased, also because they were considered to be extremely capricious and could occasionally take possession of the unwary. Further reading: Vogel, Susan M. (1997). Baule. Yale: University Press. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 3 000 / 6 000 Weight in grams: 561 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client,

Estim. 3 000 - 6 000 CHF

Lot 14 - A Baule Figure, "blolo bla" - Figure, "blolo bla" Baule, Côte d'Ivoire Mit Sockel / with base Wood, glass beads. H 32 cm. Provenance: - Center des Sciences Humaines, Abidjan. - 1969: Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Exhibited: Africa 69, Arts de la Côte-d'Ivoire et de l'Afrique occidentale. Vevey (1969). "We can't live without beautiful things" - this statement by a Baule could also have come from the mouth of a Western art lover. Surrounding themselves with attractive objects was as fundamental a concern for the Baule in Côte d'Ivoire as it was for Western collectors of African art. This Baule approach to life was expressed in finely crafted ritual figures as well as in lovingly decorated everyday objects. The classification of the figures called "waka sran" (also "waka-sona") (waka = wood, sran or sona = person, statue, idol) is difficult outside of the social context and in retrospect. In general, a distinction is made between symbolic partners from the "other world" and divination figures, although the boundary between these groups was often blurred. The loving blolo-bla and blolo-bian figures are based on the idea that every Baule has a spiritual partner in the afterlife (blolo = other world), i.e. a wife (bla) or a husband (bian), and must strive to live in the best possible relationship with them. If he does not succeed in this, his partner in the other world will make life difficult for him. The more sacrificial "divination figures" are called asye-usu and are associated with all untamed things of nature. They were used in ritual acts to attract the attention of the bush spirits. These omnipresent beings always had to be appeased, also because they were considered to be extremely capricious and could occasionally take possession of the unwary. Further reading: Vogel, Susan M. (1997). Baule. Yale: University Press. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 3 000 / 6 000 Weight in grams: 524 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only

Estim. 3 000 - 6 000 CHF

Lot 15 - A Baule Figure, "blolo bla" - Figure, "blolo bla" Baule, Côte d'Ivoire Ohne Sockel / without base Wood, glass beads, textile. H 35 cm. Provenance: - Center des Sciences Humaines, Abidjan. - 1969: Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Exhibited: Africa 69, Arts de la Côte-d'Ivoire et de l'Afrique occidentale. Vevey (1969). "We can't live without beautiful things" - this statement by a Baule could also have come from the mouth of a Western art lover. Surrounding themselves with attractive objects was as fundamental a concern for the Baule in Côte d'Ivoire as it was for Western collectors of African art. This Baule approach to life was expressed in finely crafted ritual figures as well as in lovingly decorated everyday objects. The classification of the figures called "waka sran" (also "waka-sona") (waka = wood, sran or sona = person, statue, idol) is difficult outside of the social context and in retrospect. In general, a distinction is made between symbolic partners from the "other world" and divination figures, although the boundary between these groups was often blurred. The loving blolo-bla and blolo-bian figures are based on the idea that every Baule has a spiritual partner in the afterlife (blolo = other world), i.e. a wife (bla) or a husband (bian), and must strive to live in the best possible relationship with them. If he does not succeed in this, his partner in the other world will make life difficult for him. The more sacrificial "divination figures" are called asye-usu and are associated with all untamed things of nature. They were used in ritual acts to attract the attention of the bush spirits. These omnipresent beings always had to be appeased, also because they were considered to be extremely capricious and could occasionally take possession of the unwary. Further reading: Vogel, Susan M. (1997). Baule. Yale: University Press. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 2 000 / 4 000 Weight in grams: 471 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a customer

Estim. 2 000 - 4 000 CHF

Lot 16 - A Baule Figure, "blolo bla" - Figure, "blolo bla" Baule, Côte d'Ivoire Mit Sockel / with base Wood. H 52 cm. Provenance: - Center des Sciences Humaines, Abidjan. - 1969: Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Exhibited: Africa 69, Arts de la Côte-d'Ivoire et de l'Afrique occidentale. Vevey (1969). "We can't live without beautiful things" - this statement by a Baule could also have come from the mouth of a Western art lover. Surrounding themselves with attractive objects was as fundamental a concern for the Baule in Côte d'Ivoire as it was for Western collectors of African art. This Baule approach to life was expressed in finely crafted ritual figures as well as in lovingly decorated everyday objects. The classification of the figures called "waka sran" (also "waka-sona") (waka = wood, sran or sona = person, statue, idol) is difficult outside of the social context and in retrospect. In general, a distinction is made between symbolic partners from the "other world" and divination figures, although the boundary between these groups was often blurred. The loving blolo-bla and blolo-bian figures are based on the idea that every Baule has a spiritual partner in the afterlife (blolo = other world), i.e. a wife (bla) or a husband (bian), and must strive to live in the best possible relationship with them. If he does not succeed in this, his partner in the other world will make life difficult for him. The more sacrificial "divination figures" are called asye-usu and are associated with all untamed things of nature. They were used in ritual acts to attract the attention of the bush spirits. These omnipresent beings always had to be appeased, also because they were considered to be extremely capricious and could occasionally take possession of the unwary. Further reading: Vogel, Susan M. (1997). Baule. Yale: University Press. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 2 000 / 4 000 Weight in grams: 1900 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion

Estim. 2 000 - 4 000 CHF

Lot 17 - A Boki Headdress - Headpiece Boki, Nigeria Mit Sockel / with base Wood, leather, rattan. H 48 cm. Provenance: - 1991: Galerie l'Accrosonge, Claude Lebas, Paris. - Sandro Bocola (1931-2022), Zurich. Published: Sandro Bocola. Texts and documents of his life and work. Self-published (2021). Page 297. Sandro Bocola was interested in African art from an early age. He began collecting artifacts from this tribe when he bought his first Ekoi mask. The following text about the Ekoi is taken from the publication "Sandro Bocola. Texts and documents of his life and work" (self-published in 2021; pages 294 and 295). The skin-covered masks from the Cross River region of Nigeria and Cameroon are unique in that their design concept and technique are not known in any other part of the world. It is assumed that they spread from the Ekoi people, who number around 200,000 souls, to the other Cross River tribes (the Widekum, Egjaham, Bi-fanka and Anang), which are linguistically related to them, with each of these tribes creating their own type of mask. There has been much speculation about the origins of this practice, but there are some clues. The Ekoi were not only slave traders supplying European customers operating in the port city of Old Calibar, but were also headhunters who originally regarded and displayed their captured human heads as trophies. In his famous book In the Shadow of the Bush, published in 1912, Amaury Talbot, a British civil servant and anthropologist with many interests, who undertook several trips to research the Ekoi, reports how the natives performed a war dance in his honor, in which they presented the bleeding heads of their enemies, which had just been cut off and impaled on poles. Several museums also have masks in which the skulls of the decapitated enemies are covered with skin (see the specimen on display). Since this practice was banned by the colonial powers, wood-carved headdresses covered with antelope skin were used as dance masks. In rare cases, however, these were also covered with human skin. One such example can be found in the Pitt Rivers Museum in Oxford. The broad spectrum of these works is astonishing. In addition to human heads and those that combined human and animal features, skeletons of crocodiles or other animals were also covered with skin. The aesthetics and naturalistic design of these heads caused such a sensation that the Ekoi created a corresponding, also naturalistic, but general type of mask, which they sold in many variations to the European traders, explorers and travelers of Old Calibar. The famous example of this type in the Musee de l'Homme corresponded to Le Corbusier's design ideals, while the surreal, frightening and disturbing Ekoi masks probably did not interest him. Another highly unusual custom of the Ekoi is that after the death of important members of the tribe, their portrait is made as a naturalistically carved, skin-covered head with the hair of the deceased and used as a mask for dances. CHF 8 000 / 12 000 Weight in grams: 3065 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund

Estim. 8 000 - 12 000 CHF

Lot 18 - A Boki Headdress - Headdress Boki, Nigeria Mit Sockel / with base Wood, leather, rattan, hair. H 29 cm. Provenance: - 1988: Galerie Noir d'Ivoire, Yasmina Chenoufi & Réginald Groux, Paris. - Sandro Bocola (1931-2022), Zurich. Published: - Sandro Bocola. Texts and documents of his life and work. Self-published (2021). Page 296. - Elle Décoration, Assia Dridi "Shopping / L'Art Africain" A certificate (Certificat d'authenticité) from Réginald Groux will be given to the buyer. In his certificate Réginald Groux writes about this object: "Objet 19eme Siècle au plus tard. Style classique qui ne présente aucun signe de décadence ou d'influence étrangère à l'ethnie. ... Cet objet ne présente aucun manque, ni restauration. ... Cet objet est d'une rare qualité plastique et demeure dans un parfait état de conservation." ----------------------------------------------------- Sandro Bocola was interested in African art from a young age. He began collecting artifacts from this tribe when he bought his first Ekoi mask. The following text about the Ekoi is taken from the publication "Sandro Bocola. Texts and documents of his life and work" (self-published in 2021; pages 294 and 295). The skin-covered masks from the Cross River region of Nigeria and Cameroon are unique in that their design concept and technique are not known in any other part of the world. It is assumed that they spread from the Ekoi people, who number around 200,000 souls, to the other Cross River tribes (the Widekum, Egjaham, Bi-fanka and Anang), which are linguistically related to them, with each of these tribes creating their own type of mask. There has been much speculation about the origins of this practice, but there are some clues. The Ekoi were not only slave traders supplying European customers operating in the port city of Old Calibar, but were also headhunters who originally regarded and displayed their captured human heads as trophies. In his famous book In the Shadow of the Bush, published in 1912, Amaury Talbot, a British civil servant and anthropologist with many interests, who undertook several trips to research the Ekoi, reports how the natives performed a war dance in his honor, in which they presented the bleeding heads of their enemies, which had just been cut off and impaled on poles. Several museums also have masks in which the skulls of the decapitated enemies are covered with skin (see the specimen on display). Since this practice was banned by the colonial powers, wood-carved headdresses covered with antelope skin were used as dance masks. In rare cases, however, these were also covered with human skin. One such example can be found in the Pitt Rivers Museum in Oxford. The broad spectrum of these works is astonishing. In addition to human heads and those that combined human and animal features, skeletons of crocodiles or other animals were also covered with skin. The aesthetics and naturalistic design of these heads caused such a sensation that the Ekoi created a corresponding, also naturalistic, but general type of mask, which they sold in many variations to the European traders, explorers and travelers of Old Calibar. The famous example of this type in the Musee de l'Homme corresponded to Le Corbusier's design ideals, while the surreal, frightening and disturbing Ekoi masks probably did not interest him. Another highly unusual custom of the Ekoi is that after the death of important members of the tribe, their portrait is made as a naturalistically carved, skin-covered head with the hair of the deceased and used as a mask for dances. CHF 12 000 / 18 000 Weight in grams: 1358 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear and tear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have provided for your documentation.

Estim. 12 000 - 18 000 CHF

Lot 19 - An Ibibio-Efik/Efut Headdress - Headpiece Ibibio-Efik/Efut, Nigeria Mit Sockel / with base Wood, leather, rattan. H 42 cm. Provenance: - Samir Borro, Paris. - Galerie Walu, René and Denise David, Zurich. - 1981: Sandro Bocola (1931-2022), Zurich. Published: Sandro Bocola. Texts and documents of his life and work. Self-published (2021). Page 296. A certificate from Galerie Walu (1981) will be given to the buyer. Sandro Bocola was interested in African art from an early age. With the purchase of his first Ekoi mask, he began collecting artifacts from this tribe. The following text about the Ekoi is taken from the publication "Sandro Bocola. Texts and documents of his life and work" (self-published in 2021; pages 294 and 295). The skin-covered masks from the Cross River region of Nigeria and Cameroon are unique in that their design concept and technique are not known in any other part of the world. It is assumed that they spread from the Ekoi people, who number around 200,000 souls, to the other Cross River tribes (the Widekum, Egjaham, Bi-fanka and Anang), which are linguistically related to them, with each of these tribes creating their own type of mask. There has been much speculation about the origins of this practice, but there are some clues. The Ekoi were not only slave traders supplying European customers operating in the port city of Old Calibar, but were also headhunters who originally regarded and displayed their captured human heads as trophies. In his famous book In the Shadow of the Bush, published in 1912, Amaury Talbot, a British civil servant and anthropologist with many interests, who undertook several trips to research the Ekoi, reports how the natives performed a war dance in his honor, in which they presented the bleeding heads of their enemies, which had just been cut off and impaled on poles. Several museums also have masks in which the skulls of the decapitated enemies are covered with skin (see the specimen on display). Since this practice was banned by the colonial powers, wood-carved headdresses covered with antelope skin were used as dance masks. In rare cases, however, these were also covered with human skin. One such example can be found in the Pitt Rivers Museum in Oxford. The broad spectrum of these works is astonishing. In addition to human heads and those that combined human and animal features, skeletons of crocodiles or other animals were also covered with skin. The aesthetics and naturalistic design of these heads caused such a sensation that the Ekoi created a corresponding, also naturalistic, but general type of mask, which they sold in many variations to the European traders, explorers and travelers of Old Calibar. The famous example of this type in the Musee de l'Homme corresponded to Le Corbusier's design ideals, while the surreal, frightening and disturbing Ekoi masks probably did not interest him. Another highly unusual custom of the Ekoi is that after the death of important members of the tribe, their portrait is made as a naturalistically carved, skin-covered head with the hair of the deceased and used as a mask for dances. CHF 8 000 / 12 000 Weight in grams: 2265 Condition: Both side horns are not original. Both side horns are not original. -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions.

Estim. 8 000 - 12 000 CHF

Lot 20 - A Boki Headdress - Headpiece Ekoi cultural circle, Nigeria Mit Sockel / with base Wood, leather, hair, rattan. H 25 cm. Provenance: - 1989: Gallery 62, Maud and René Garcia, Paris. - Sandro Bocola (1931-2022), Zurich. Published: Sandro Bocola. Texts and documents of his life and work. Self-published (2021). Page 296. Sandro Bocola was interested in African art from an early age. He began collecting artifacts from this tribe when he bought his first Ekoi mask. The following text about the Ekoi is taken from the publication "Sandro Bocola. Texts and documents of his life and work" (self-published in 2021; pages 294 and 295). The skin-covered masks from the Cross River region of Nigeria and Cameroon are unique in that their design concept and technique are not known in any other part of the world. It is assumed that they spread from the Ekoi people, who number around 200,000 souls, to the other Cross River tribes (the Widekum, Egjaham, Bi-fanka and Anang), which are linguistically related to them, with each of these tribes creating their own type of mask. There has been much speculation about the origins of this practice, but there are some clues. The Ekoi were not only slave traders supplying European customers operating in the port city of Old Calibar, but were also headhunters who originally regarded and displayed their captured human heads as trophies. In his famous book In the Shadow of the Bush, published in 1912, Amaury Talbot, a British civil servant and anthropologist with many interests, who undertook several trips to research the Ekoi, reports how the natives performed a war dance in his honor, in which they presented the bleeding heads of their enemies, which had just been cut off and impaled on poles. Several museums also have masks in which the skulls of the decapitated enemies are covered with skin (see the specimen on display). Since this practice was banned by the colonial powers, wood-carved headdresses covered with antelope skin were used as dance masks. In rare cases, however, these were also covered with human skin. One such example can be found in the Pitt Rivers Museum in Oxford. The broad spectrum of these works is astonishing. In addition to human heads and those that combined human and animal features, skeletons of crocodiles or other animals were also covered with skin. The aesthetics and naturalistic design of these heads caused such a sensation that the Ekoi created a corresponding, also naturalistic, but general type of mask, which they sold in many variations to the European traders, explorers and travelers of Old Calibar. The famous example of this type in the Musee de l'Homme corresponded to Le Corbusier's design ideals, while the surreal, frightening and disturbing Ekoi masks probably did not interest him. Another highly unusual custom of the Ekoi is that after the death of important members of the tribe, their portrait is made as a naturalistically carved, skin-covered head with the hair of the deceased and used as a mask for dances. CHF 8 000 / 12 000 Weight in grams: 1217 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund.

Estim. 8 000 - 12 000 CHF

Lot 21 - A Boki Headdress - Headdress Ekoi cultural group (Boki), Nigeria (North Cross-River) Mit Sockel / with base Wood, leather, hair, rattan. H 22,5 cm. Provenance: - 1989: Galerie 62, Maud and René Garcia, Paris. - Sandro Bocola (1931-2022), Zurich. Published: Sandro Bocola. Texts and documents of his life and work. Self-published (2021). Page 296. Sandro Bocola was interested in African art from an early age. He began collecting artifacts from this tribe when he bought his first Ekoi mask. The following text about the Ekoi is taken from the publication "Sandro Bocola. Texts and documents of his life and work" (self-published in 2021; pages 294 and 295). The skin-covered masks from the Cross River region of Nigeria and Cameroon are unique in that their design concept and technique are not known in any other part of the world. It is assumed that they spread from the Ekoi people, who number around 200,000 souls, to the other Cross River tribes (the Widekum, Egjaham, Bi-fanka and Anang), which are linguistically related to them, with each of these tribes creating their own type of mask. There has been much speculation about the origins of this practice, but there are some clues. The Ekoi were not only slave traders supplying European customers operating in the port city of Old Calibar, but were also headhunters who originally regarded and displayed their captured human heads as trophies. In his famous book In the Shadow of the Bush, published in 1912, Amaury Talbot, a British civil servant and anthropologist with many interests, who undertook several trips to research the Ekoi, reports how the natives performed a war dance in his honor, in which they presented the bleeding heads of their enemies, which had just been cut off and impaled on poles. Several museums also have masks in which the skulls of the decapitated enemies are covered with skin (see the specimen on display). Since this practice was banned by the colonial powers, wood-carved headdresses covered with antelope skin were used as dance masks. In rare cases, however, these were also covered with human skin. One such example can be found in the Pitt Rivers Museum in Oxford. The broad spectrum of these works is astonishing. In addition to human heads and those that combined human and animal features, skeletons of crocodiles or other animals were also covered with skin. The aesthetics and naturalistic design of these heads caused such a sensation that the Ekoi created a corresponding, also naturalistic, but general type of mask, which they sold in many variations to the European traders, explorers and travelers of Old Calibar. The famous example of this type in the Musee de l'Homme corresponded to Le Corbusier's design ideals, while the surreal, frightening and disturbing Ekoi masks probably did not interest him. Another highly unusual custom of the Ekoi is that after the death of important members of the tribe, their portrait is made as a naturalistically carved, skin-covered head with the hair of the deceased and used as a mask for dances. CHF 8 000 / 12 000 Weight in grams: 980 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full

Estim. 8 000 - 12 000 CHF

Lot 22 - An Ejagham Headdress - Headpiece Ekoi cultural group, Nigeria / Cameroon Mit Sockel / with base Wood, leather, rattan, textile. H 43 cm. Provenance: - Private collection Düsseldorf. - Christie's London, 16.10.1979. Lot 196. - Unknown collection. - Christie's London, 10.11.1981. Lot 140. - unknown collection. - Christie's London, 28.06.1988, lot 94. - Sandro Bocola (1931-2022), Zurich. Published: - Sandro Bocola. Texts and documents of his life and work. Self-published (2021). Page 297. - Schädler, Karl-Ferdinand (1973). Afrikanische Kunst in deutschen Privatsammlungen / African Art in Private German Collections / L'Art Africain dans les Collections Privées Allemandes. Munich: Münchner Buchgewerbehaus GmbH. Described at Christies (London, 28.06.1988, lot 94) as follows: "A FINE EKOI SKIN-COVERED MASK HEADDRESS, the open mouth with filed teeth, the eyes pierced as crescents with central wood stud on metal panels, circular scarifications on temples and center of forehead, the cheeks painted with entwined motifs, quatrefoil coiffure, on openwork ring covered in coloured cloth, minor damages 42cm. high. £600-800 Literature: Schaedler, 1973, no. 325. This work gives the impression of being conceived by the artist as a single whole, not as a succession of processes. One feels the arresting prescience of the spirit, in a manner found only in one or two per cent of Ejagham or Ekoi pieces." -------------------------------------------- Sandro Bocola was already interested in African art at a young age. He began collecting artifacts from this tribe when he bought his first Ekoi mask. The following text about the Ekoi is taken from the publication "Sandro Bocola. Texts and documents of his life and work" (self-published in 2021; pages 294 and 295). The skin-covered masks from the Cross River region of Nigeria and Cameroon are unique in that their design concept and technique are not known in any other part of the world. It is assumed that they spread from the Ekoi people, who number around 200,000 souls, to the other Cross River tribes (the Widekum, Egjaham, Bi-fanka and Anang), which are linguistically related to them, with each of these tribes creating their own type of mask. There has been much speculation about the origins of this practice, but there are some clues. The Ekoi not only supplied European customers working in the port city of Old Calibar as slave traders, but were also headhunters who originally regarded and displayed their captured human heads as trophies. In his famous book In the Shadow of the Bush, published in 1912, Amaury Talbot, a British civil servant and anthropologist with many interests, who undertook several trips to research the Ekoi, reports how the natives performed a war dance in his honor, in which they presented the bleeding heads of their enemies, which had just been cut off and impaled on poles. Several museums also have masks in which the skulls of the decapitated enemies are covered with skin (see the specimen on display). Since this practice was banned by the colonial powers, wood-carved headdresses covered with antelope skin were used as dance masks. In rare cases, however, these were also covered with human skin. One such example can be found in the Pitt Rivers Museum in Oxford. The broad spectrum of these works is astonishing. In addition to human heads and those that combined human and animal features, skeletons of crocodiles or other animals were also covered with skin. The aesthetics and naturalistic design of these heads caused such a sensation that the Ekoi created a corresponding, equally naturalistic but general type of mask, which they sold in many variations to the European traders, explorers and travelers of Old Calibar. The famous example of this type in the Musee de l'Homme corresponded to Le Corbusier's design ideals, while the surreal, frightening and disturbing Ekoi masks probably did not interest him. Another highly unusual custom of the Ekoi is that after the death of important members of the tribe, their portrait is made as a naturalistically carved, skin-covered head with the hair of the deceased and used as a mask for dances. CHF 2 000 / 4 000 Weight in grams: 1040 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions

Estim. 2 000 - 4 000 CHF

Lot 23 - A Boki janus-headed Headdress - Janus-headed dance attachment Ekoi cultural group, Nigeria / Cameroon Mit Sockel / with base Wood, leather, rattan, horn. H 50.5 cm. Provenance: - Sotheby's London, 03.07.1989, lot 123. - Christie's, Amsterdam, 11.12.2001. Lot 426. - Sandro Bocola (1931-2022), Zurich. Published: Sandro Bocola. Texts and documents of his life and work. Self-published (2021). Page 296. Sandro Bocola was interested in African art from an early age. He began collecting artifacts from this tribe when he bought his first Ekoi mask. The following text about the Ekoi is taken from the publication "Sandro Bocola. Texts and documents of his life and work" (self-published in 2021; pages 294 and 295). The skin-covered masks from the Cross River region of Nigeria and Cameroon are unique in that their design concept and technique are not known in any other part of the world. It is assumed that they spread from the Ekoi people, who number around 200,000 souls, to the other Cross River tribes (the Widekum, Egjaham, Bi-fanka and Anang), which are linguistically related to them, with each of these tribes creating their own type of mask. There has been much speculation about the origins of this practice, but there are some clues. The Ekoi were not only slave traders supplying European customers operating in the port city of Old Calibar, but were also headhunters who originally regarded and displayed their captured human heads as trophies. In his famous book In the Shadow of the Bush, published in 1912, Amaury Talbot, a British civil servant and anthropologist with many interests, who undertook several trips to research the Ekoi, reports how the natives performed a war dance in his honor, in which they presented the bleeding heads of their enemies, which had just been cut off and impaled on poles. Several museums also have masks in which the skulls of the decapitated enemies are covered with skin (see the specimen on display). Since this practice was banned by the colonial powers, wood-carved headdresses covered with antelope skin were used as dance masks. In rare cases, however, these were also covered with human skin. One such example can be found in the Pitt Rivers Museum in Oxford. The broad spectrum of these works is astonishing. In addition to human heads and those that combined human and animal features, skeletons of crocodiles or other animals were also covered with skin. The aesthetics and naturalistic design of these heads caused such a sensation that the Ekoi created a corresponding, also naturalistic, but general type of mask, which they sold in many variations to the European traders, explorers and travelers of Old Calibar. The famous example of this type in the Musee de l'Homme corresponded to Le Corbusier's design ideals, while the surreal, frightening and disturbing Ekoi masks probably did not interest him. Another highly unusual custom of the Ekoi is that after the death of important members of the tribe, their portrait is made as a naturalistically carved, skin-covered head with the hair of the deceased and used as a mask for dances. CHF 4 000 / 8 000 Weight in grams: 1800 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help

Estim. 4 000 - 8 000 CHF

Lot 24 - A Boki Headdress - Headpiece Ekoi cultural circle, Nigeria Mit Sockel / with base Wood, leather, rattan. H 27 cm. Provenance: - Loudmer, Paris 07 & 09.12.1991, lot 55. - Sandro Bocola (1931-2022), Zurich. Sandro Bocola was interested in African art from an early age. He began collecting artifacts from this tribe when he bought his first Ekoi mask. The following text about the Ekoi is taken from the publication "Sandro Bocola. Texts and documents of his life and work" (self-published in 2021; pages 294 and 295). The skin-covered masks from the Cross River region of Nigeria and Cameroon are unique in that their design concept and technique are not known in any other part of the world. It is assumed that they spread from the Ekoi people, who number around 200,000 souls, to the other Cross River tribes (the Widekum, Egjaham, Bi-fanka and Anang), which are linguistically related to them, with each of these tribes creating their own type of mask. There has been much speculation about the origins of this practice, but there are some clues. The Ekoi were not only slave traders supplying European customers operating in the port city of Old Calibar, but were also headhunters who originally regarded and displayed their captured human heads as trophies. In his famous book In the Shadow of the Bush, published in 1912, Amaury Talbot, a British civil servant and anthropologist with many interests, who undertook several trips to research the Ekoi, reports how the natives performed a war dance in his honor, in which they presented the bleeding heads of their enemies, which had just been cut off and impaled on poles. Several museums also have masks in which the skulls of the decapitated enemies are covered with skin (see the specimen on display). Since this practice was banned by the colonial powers, wood-carved headdresses covered with antelope skin were used as dance masks. In rare cases, however, these were also covered with human skin. One such example can be found in the Pitt Rivers Museum in Oxford. The broad spectrum of these works is astonishing. In addition to human heads and those that combined human and animal features, skeletons of crocodiles or other animals were also covered with skin. The aesthetics and naturalistic design of these heads caused such a sensation that the Ekoi created a corresponding, also naturalistic, but general type of mask, which they sold in many variations to the European traders, explorers and travelers of Old Calibar. The famous example of this type in the Musee de l'Homme corresponded to Le Corbusier's design ideals, while the surreal, frightening and disturbing Ekoi masks probably did not interest him. Another highly unusual custom of the Ekoi is that after the death of important members of the tribe, their portrait is made as a naturalistically carved, skin-covered head with the hair of the deceased and used as a mask for dances. CHF 2 000 / 4 000 Weight in grams: 1819 Condition: Right tusk not original. Right tusk not original. -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund, provided they notify Hammer Auctions in writing.

Estim. 2 000 - 4 000 CHF

Lot 25 - A Widekum Headdress, "tukum" - Figurative head piece, "tukum" Ekoi cultural group, Cameroon Ohne Sockel / without base Wood, leather, rattan, hair. H 31.5 cm. Provenance: - 1989: Davis Gallery, Charles Davis, New Orleans. - Sandro Bocola (1931-2022), Zurich. Described by Charles Davis in 1989 as follows: "This female headcrest was probably for an initiation society, restricted to women and related to the Boki egbege society, which plays an improtant role in female affairs, especially the institution of the fattening house for prospective brides. The masker, a male was concealed under a long garment that covered the body and extended to the ankles. The small white eyes indicate that the mask represents a dead ancestor and thus their moral authority." ----------------------------------------------------- Sandro Bocola was already interested in African art at a young age. When he bought his first Ekoi mask, he began collecting artifacts from this tribe. The following text about the Ekoi is taken from the publication "Sandro Bocola. Texts and documents of his life and work" (self-published in 2021; pages 294 and 295). The skin-covered masks from the Cross River region of Nigeria and Cameroon are unique in that their design concept and technique are not known in any other part of the world. It is assumed that they spread from the Ekoi people, who number around 200,000 souls, to the other Cross River tribes (the Widekum, Egjaham, Bi-fanka and Anang), which are linguistically related to them, with each of these tribes creating their own type of mask. There has been much speculation about the origins of this practice, but there are some clues. The Ekoi were not only slave traders supplying European customers operating in the port city of Old Calibar, but were also headhunters who originally regarded and displayed their captured human heads as trophies. In his famous book In the Shadow of the Bush, published in 1912, Amaury Talbot, a British civil servant and anthropologist with many interests, who undertook several trips to research the Ekoi, reports how the natives performed a war dance in his honor, in which they presented the bleeding heads of their enemies, which had just been cut off and impaled on poles. Several museums also have masks in which the skulls of the decapitated enemies are covered with skin (see the specimen on display). Since this practice was banned by the colonial powers, wood-carved headdresses covered with antelope skin were used as dance masks. In rare cases, however, these were also covered with human skin. One such example can be found in the Pitt Rivers Museum in Oxford. The broad spectrum of these works is astonishing. In addition to human heads and those that combined human and animal features, skeletons of crocodiles or other animals were also covered with skin. The aesthetics and naturalistic design of these heads caused such a sensation that the Ekoi created a corresponding, also naturalistic, but general type of mask, which they sold in many variations to the European traders, explorers and travelers of Old Calibar. The famous example of this type in the Musee de l'Homme corresponded to Le Corbusier's design ideals, while the surreal, frightening and disturbing Ekoi masks probably did not interest him. Another highly unusual custom of the Ekoi is that after the death of important members of the tribe, their portrait is made as a naturalistically carved, skin-covered head with the hair of the deceased and used as a mask for dances. CHF 1 000 / 2 000 Weight in grams: 379 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this lot, please do not hesitate to contact Hammer Auctions (info@hammerauktione

Estim. 1 000 - 2 000 CHF

Lot 26 - An Anyang Headdress, "tukum" - Headpiece, "tukum" Anyang, Cameroon Ohne Sockel / without base Wood, leather, hair, rattan. H 23 cm. Provenance: Sandro Bocola (1931-2022), Zurich. Published: Sandro Bocola. Texts and documents of his life and work. Self-published (2021). Page 296. Sandro Bocola was interested in African art from an early age. He began collecting artifacts from this tribe when he bought his first Ekoi mask. The following text about the Ekoi is taken from the publication "Sandro Bocola. Texts and documents of his life and work" (self-published in 2021; pages 294 and 295). The skin-covered masks from the Cross River region of Nigeria and Cameroon are unique in that their design concept and technique are not known in any other part of the world. It is assumed that they spread from the Ekoi people, who number around 200,000 souls, to the other Cross River tribes (the Widekum, Egjaham, Bi-fanka and Anang), which are linguistically related to them, with each of these tribes creating their own type of mask. There has been much speculation about the origins of this practice, but there are some clues. The Ekoi were not only slave traders supplying European customers operating in the port city of Old Calibar, but were also headhunters who originally regarded and displayed their captured human heads as trophies. In his famous book In the Shadow of the Bush, published in 1912, Amaury Talbot, a British civil servant and anthropologist with many interests, who undertook several trips to research the Ekoi, reports how the natives performed a war dance in his honor, in which they presented the bleeding heads of their enemies, which had just been cut off and impaled on poles. Several museums also have masks in which the skulls of the decapitated enemies are covered with skin (see the specimen on display). Since this practice was banned by the colonial powers, wood-carved headdresses covered with antelope skin were used as dance masks. In rare cases, however, these were also covered with human skin. One such example can be found in the Pitt Rivers Museum in Oxford. The broad spectrum of these works is astonishing. In addition to human heads and those that combined human and animal features, skeletons of crocodiles or other animals were also covered with skin. The aesthetics and naturalistic design of these heads caused such a sensation that the Ekoi created a corresponding, also naturalistic, but general type of mask, which they sold in many variations to the European traders, explorers and travelers of Old Calibar. The famous example of this type in the Musee de l'Homme corresponded to Le Corbusier's design ideals, while the surreal, frightening and disturbing Ekoi masks probably did not interest him. Another highly unusual custom of the Ekoi is that after the death of important members of the tribe, their portrait is made as a naturalistically carved, skin-covered head with the hair of the deceased and used as a mask for dances. CHF 300 / 600 Weight in grams: 207 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within v

Estim. 300 - 600 CHF

Lot 27 - A Boki Staff - Dignity stick Boki, Nigeria Ohne Sockel / without base Wood, leather. H 94.5 cm. Provenance: - Davis Gallery, Charles Davis, New Orleans. Acquired in situ in 1988. - Sandro Bocola (1931-2022), Zurich. Described by Charles Davis in 1989 as follows: "Covered with animal skin, this extremely rare dance wand was used by a senior member of the Asirikong society (an elitist group of men of affluence and influence) during ceremonies ranging from entertainments to funerals. The head depicts power and strength with its bold eyebrows and accentuated mouth and eyes. The open mouth exposes a set of upper-jaw teeth with a characteristic gap between the incisors. The leather is stained with brown vegetable paint. The flattened end of the staff may have been used to chase evil from the village while the head symbolized assertion of moral authority." ----------------------------------------------------- Described at Christies (Amsterdam, 28.06.1988, lot 1418) as follows: AN EJAGHAM DANCE WAND The finial carved as a head with whitened teeth to the open mouth, stud eyes, covered with reddened skin, a line of wood pegs inset below the four-lobed coiffure, spatulate section below the grip. Estimate: €3,000-5,000 ----------------------------------------------------- Sandro Bocola was interested in African art from an early age. With the purchase of his first Ekoi mask, he began collecting artifacts from this tribe. The following text about the Ekoi is taken from the publication "Sandro Bocola. Texts and documents of his life and work" (self-published in 2021; pages 294 and 295). The skin-covered masks from the Cross River region of Nigeria and Cameroon are unique in that their design concept and technique are not known in any other part of the world. It is assumed that they spread from the Ekoi people, who number around 200,000 souls, to the other Cross River tribes (the Widekum, Egjaham, Bi-fanka and Anang), which are linguistically related to them, with each of these tribes creating their own type of mask. There has been much speculation about the origins of this practice, but there are some clues. The Ekoi not only supplied European customers working in the port city of Old Calibar as slave traders, but were also headhunters who originally regarded and displayed their captured human heads as trophies. In his famous book In the Shadow of the Bush, published in 1912, Amaury Talbot, a British civil servant and anthropologist with many interests, who undertook several trips to research the Ekoi, reports how the natives performed a war dance in his honor, in which they presented the bleeding heads of their enemies, which had just been cut off and impaled on poles. Several museums also have masks in which the skulls of the decapitated enemies are covered with skin (see the specimen on display). Since this practice was banned by the colonial powers, wood-carved headdresses covered with antelope skin were used as dance masks. In rare cases, however, these were also covered with human skin. One such example can be found in the Pitt Rivers Museum in Oxford. The broad spectrum of these works is astonishing. In addition to human heads and those that combined human and animal features, skeletons of crocodiles or other animals were also covered with skin. The aesthetics and naturalistic design of these heads caused such a sensation that the Ekoi created a corresponding, equally naturalistic but general type of mask, which they sold in many variations to the European traders, explorers and travelers of Old Calibar. The famous example of this type in the Musee de l'Homme corresponded to Le Corbusier's design ideals, while the surreal, frightening and disturbing Ekoi masks probably did not interest him. Another highly unusual custom of the Ekoi is that after the death of important members of the tribe, their portrait is made as a naturalistically carved, skin-covered head with the hair of the deceased and used as a mask for dances. CHF 2 000 / 4 000 Weight in grams: 600 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hamm

Estim. 2 000 - 4 000 CHF

Lot 28 - A Widekum Mask, "agwe chaka" - Mask, "agwe chaka" Ekoi cultural group, Cameroon Mit Sockel / with base Wood, leather. H 48 cm. Provenance: - 1989: Galerie Annamel, Paris. - Sandro Bocola (1931-2022), Zurich. Published: Sandro Bocola. Texts and documents of his life and work. Self-published (2021). Page 296. Sandro Bocola was interested in African art from an early age. He began collecting artifacts from this tribe when he bought his first Ekoi mask. The following text about the Ekoi is taken from the publication "Sandro Bocola. Texts and documents of his life and work" (self-published in 2021; pages 294 and 295). The skin-covered masks from the Cross River region of Nigeria and Cameroon are unique in that their design concept and technique are not known in any other part of the world. It is assumed that they spread from the Ekoi people, who number around 200,000 souls, to the other Cross River tribes (the Widekum, Egjaham, Bi-fanka and Anang), which are linguistically related to them, with each of these tribes creating their own type of mask. There has been much speculation about the origins of this practice, but there are some clues. The Ekoi were not only slave traders supplying European customers operating in the port city of Old Calibar, but were also headhunters who originally regarded and displayed their captured human heads as trophies. In his famous book In the Shadow of the Bush, published in 1912, Amaury Talbot, a British civil servant and anthropologist with many interests, who undertook several trips to research the Ekoi, reports how the natives performed a war dance in his honor, in which they presented the bleeding heads of their enemies, which had just been cut off and impaled on poles. Several museums also have masks in which the skulls of the decapitated enemies are covered with skin (see the specimen on display). Since this practice was banned by the colonial powers, wood-carved headdresses covered with antelope skin were used as dance masks. In rare cases, however, these were also covered with human skin. One such example can be found in the Pitt Rivers Museum in Oxford. The broad spectrum of these works is astonishing. In addition to human heads and those that combined human and animal features, skeletons of crocodiles or other animals were also covered with skin. The aesthetics and naturalistic design of these heads caused such a sensation that the Ekoi created a corresponding, also naturalistic, but general type of mask, which they sold in many variations to the European traders, explorers and travelers of Old Calibar. The famous example of this type in the Musee de l'Homme corresponded to Le Corbusier's design ideals, while the surreal, frightening and disturbing Ekoi masks probably did not interest him. Another highly unusual custom of the Ekoi is that after the death of important members of the tribe, their portrait is made as a naturalistically carved, skin-covered head with the hair of the deceased and used as a mask for dances. CHF 600 / 1 200 Weight in grams: 4550 condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund, provided they notify Hammer Auctions in writing.

Estim. 600 - 1 200 CHF

Lot 29 - A Sapi Stone Head, "mahen yafe" - Stone head, "mahen yafe" Sapi, Sierra Leone Ohne Sockel / without base Stone. H 19 cm. Provenance: Gérald Minkoff (1937-2009) and Muriel Olesen (1948-2020), Geneva. Most of the known stone figures were found in the area between the Sherbro Islands and Guinea, between western Liberia and the Temne country in Sierra Leone. The chance finds in the Kissi and Mende areas were discovered by field workers or uncovered on riverbanks. In 1883, the British colonial official T.J. Alldridge was the first to find two objects on Sherbro Island, which he subsequently sold to the British Museum. Since then, a number of objects have ended up in museums and collections, while others have been retained by the local population. The Kissi and most other ethnic groups in the region call the sculptures pomdo (pomtan = the dead) and regard them as ancestors turned into stone to whom the owners make offerings. The Mende call the stylistically distinct works they find nomoli (Mz. nomolisia = found spirits). They are aware that they must be artifacts left behind by earlier cultures and use them in fertility rites. The rarest stone works are the impressive, sometimes life-size heads from the Mende region. They are known locally as mahen yafe (spirit of the chief) and are the property of the poro confederation. These heads are not fragments of larger figures and the bases used as plinths are not broken. In 1852, the British missionary George Thompson discovered five of these objects at the foot of a tree, all of which may have been accidentally or deliberately damaged. When he asked the local rulers about the origin of the stones, they replied that these objects must have grown here, as none of their people could make such things. A wide-ranging mineralogical test carried out by the Musée de l'Homme in 1945 on around 300 objects revealed that around two thirds were made of steatite (= soapstone, a naturally occurring chemical substance that is easy to work with) and the remainder of chlorite schist, amphibolite, granite and dolerite. Stylistically, the evidence is very similar to the Afro-Portuguese ivory carvings from the 16th and early 17th centuries that were made in the same area by local craftsmen on behalf of the Portuguese nobility. European merchants referred to this area along the coast as the "Land of the Sapes" (or Sapis). It is difficult to say how old the stonework really is, but the evidence so far suggests that the early work is related to the Sapi class of the time. Although the Kissi in particular have long upheld the ancient tradition, stone carving is now practiced in this region for decorative purposes only. Further reading: F.J. Lamp (2018). Ancestors in Search of Descendants: Stone Effigies of the Ancient Sapi. New York: QCC Art Gallery Press, New York. -------------------------------------------- Gérald Minkoff and Muriel Olesen Muriel Minkoff-Olesen (1948- 2020) completed her training at the School of Design in Geneva. Gérald Minkoff (1937-2009) was a trained anthropologist and biologist. Both achieved fame as artists and from their meeting in 1967, the emblematic couple of contemporary art were inseparable. The travel-loving Olesen-Minkoff duo explored life like curious nomads, roaming the globe from Africa to Asia, Oceania, America and Patagonia. As artists and experienced collectors of contemporary art, they understandably had a keen sensitivity to the aesthetics and concepts of non-European art. The couple's Geneva apartment, perhaps their most beautiful joint work, thus became a place where the works of close friends such as Daniel Spoerri, Arman and Man Ray, as well as their own photographs, lived together with almost a thousand objects from Africa, Oceania, Asia and South America. CHF 4 000 / 8 000 Weight in grams: 3539 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 d

Estim. 4 000 - 8 000 CHF

Lot 30 - A Sapi Stone Figure, "nomoli" - Stone figure, "nomoli" Sapi, Sierra Leone Ohne Sockel / without base Stone. H 16 cm. Provenance: Gérald Minkoff (1937-2009) and Muriel Olesen (1948-2020), Geneva. Most of the known stone figures were found in the area between the Sherbro Islands and Guinea, between western Liberia and the Temne country in Sierra Leone. The chance finds in the Kissi and Mende areas were discovered by field workers or uncovered on riverbanks. In 1883, the British colonial official T.J. Alldridge was the first to find two objects on Sherbro Island, which he subsequently sold to the British Museum. Since then, a number of objects have ended up in museums and collections, while others have been retained by the local population. The Kissi and most other ethnic groups in the region call the sculptures pomdo (pomtan = the dead) and regard them as ancestors turned into stone to whom the owners make offerings. The Mende call the stylistically distinct works they find nomoli (Mz. nomolisia = found spirits). They are aware that they must be artifacts left behind by earlier cultures and use them in fertility rites. The rarest stone works are the impressive, sometimes life-size heads from the Mende region. They are known locally as mahen yafe (spirit of the chief) and are the property of the poro confederation. These heads are not fragments of larger figures and the bases used as plinths are not broken. In 1852, the British missionary George Thompson discovered five of these objects at the foot of a tree, all of which may have been accidentally or deliberately damaged. When he asked the local rulers about the origin of the stones, they replied that these objects must have grown here, as none of their people could make such things. A wide-ranging mineralogical test carried out by the Musée de l'Homme in 1945 on around 300 objects revealed that around two thirds were made of steatite (= soapstone, a naturally occurring chemical substance that is easy to work with) and the remainder of chlorite schist, amphibolite, granite and dolerite. Stylistically, the evidence is very similar to the Afro-Portuguese ivory carvings from the 16th and early 17th centuries that were made in the same area by local craftsmen on behalf of the Portuguese nobility. European merchants referred to this area along the coast as the "Land of the Sapes" (or Sapis). It is difficult to say how old the stonework really is, but the evidence so far suggests that the early work is related to the Sapi class of the time. Although the Kissi in particular have long upheld the ancient tradition, stone carving is now practiced in this region for decorative purposes only. Further reading: F.J. Lamp (2018). Ancestors in Search of Descendants: Stone Effigies of the Ancient Sapi. New York: QCC Art Gallery Press, New York. -------------------------------------------- Gérald Minkoff and Muriel Olesen Muriel Minkoff-Olesen (1948- 2020) completed her training at the School of Design in Geneva. Gérald Minkoff (1937-2009) was a trained anthropologist and biologist. Both achieved fame as artists and from their meeting in 1967, the emblematic couple of contemporary art were inseparable. The travel-loving Olesen-Minkoff duo explored life like curious nomads, roaming the globe from Africa to Asia, Oceania, America and Patagonia. As artists and experienced collectors of contemporary art, they understandably had a keen sensitivity to the aesthetics and concepts of non-European art. The couple's Geneva apartment, perhaps their most beautiful joint work, thus became a place where the works of close friends such as Daniel Spoerri, Arman and Man Ray, as well as their own photographs, lived together with almost a thousand objects from Africa, Oceania, Asia and South America. CHF 3 000 / 6 000 Weight in grams: 1485 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days

Estim. 3 000 - 6 000 CHF

Lot 31 - A Sapi Stone Head, "nomoli" - Stone head, "nomoli" Sapi, Sierra Leone Mit Sockel / with base Stone. H 14.5 cm. Provenance: Gérald Minkoff (1937-2009) and Muriel Olesen (1948-2020), Geneva. Most of the known stone figures were found in the area between the Sherbro Islands and Guinea, between western Liberia and the Temne country in Sierra Leone. The chance finds in the Kissi and Mende areas were discovered by field workers or uncovered on riverbanks. In 1883, the British colonial official T.J. Alldridge was the first to find two objects on Sherbro Island, which he subsequently sold to the British Museum. Since then, a number of objects have ended up in museums and collections, while others have been retained by the local population. The Kissi and most other ethnic groups in the region call the sculptures pomdo (pomtan = the dead) and regard them as ancestors turned into stone to whom the owners make offerings. The Mende call the stylistically distinct works they find nomoli (Mz. nomolisia = found spirits). They are aware that they must be artifacts left behind by earlier cultures and use them in fertility rites. The rarest stone works are the impressive, sometimes life-size heads from the Mende region. They are known locally as mahen yafe (spirit of the chief) and are the property of the poro confederation. These heads are not fragments of larger figures and the bases used as plinths are not broken. In 1852, the British missionary George Thompson discovered five of these objects at the foot of a tree, all of which may have been accidentally or deliberately damaged. When he asked the local rulers about the origin of the stones, they replied that these objects must have grown here, as none of their people could make such things. A wide-ranging mineralogical test carried out by the Musée de l'Homme in 1945 on around 300 objects revealed that around two thirds were made of steatite (= soapstone, a naturally occurring chemical substance that is easy to work with) and the remainder of chlorite schist, amphibolite, granite and dolerite. Stylistically, the evidence is very similar to the Afro-Portuguese ivory carvings from the 16th and early 17th centuries that were made in the same area by local craftsmen on behalf of the Portuguese nobility. European merchants referred to this area along the coast as the "Land of the Sapes" (or Sapis). It is difficult to say how old the stonework really is, but the evidence so far suggests that the early work is related to the Sapi class of the time. Although the Kissi in particular have long upheld the ancient tradition, stone carving is now practiced in this region for decorative purposes only. Further reading: F.J. Lamp (2018). Ancestors in Search of Descendants: Stone Effigies of the Ancient Sapi. New York: QCC Art Gallery Press, New York. -------------------------------------------- Gérald Minkoff and Muriel Olesen Muriel Minkoff-Olesen (1948- 2020) completed her training at the School of Design in Geneva. Gérald Minkoff (1937-2009) was a trained anthropologist and biologist. Both achieved fame as artists and from their meeting in 1967, the emblematic couple of contemporary art were inseparable. The travel-loving Olesen-Minkoff duo explored life like curious nomads, roaming the globe from Africa to Asia, Oceania, America and Patagonia. As artists and experienced collectors of contemporary art, they understandably had a keen sensitivity to the aesthetics and concepts of non-European art. The couple's Geneva apartment, perhaps their most beautiful joint work, thus became a place where the works of close friends such as Daniel Spoerri, Arman and Man Ray, as well as their own photographs, lived together with almost a thousand objects from Africa, Oceania, Asia and South America. CHF 3 000 / 6 000 Weight in grams: 2625 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of

Estim. 3 000 - 6 000 CHF

Lot 32 - A Sapi Stone Head, "nomoli" - Stone head, "nomoli" Sapi, Sierra Leone Mit Sockel / with base Stone. H 7 cm. Provenance: Gérald Minkoff (1937-2009) and Muriel Olesen (1948-2020), Geneva. Most of the known stone figures were found in the area between the Sherbro Islands and Guinea, between western Liberia and the Temne country in Sierra Leone. The chance finds in the Kissi and Mende areas were discovered by field workers or uncovered on riverbanks. In 1883, the British colonial official T.J. Alldridge was the first to find two objects on Sherbro Island, which he subsequently sold to the British Museum. Since then, a number of objects have ended up in museums and collections, while others have been retained by the local population. The Kissi and most other ethnic groups in the region call the sculptures pomdo (pomtan = the dead) and regard them as ancestors turned into stone to whom the owners make offerings. The Mende call the stylistically distinct works they find nomoli (Mz. nomolisia = found spirits). They are aware that they must be artifacts left behind by earlier cultures and use them in fertility rites. The rarest stone works are the impressive, sometimes life-size heads from the Mende region. They are known locally as mahen yafe (spirit of the chief) and are the property of the poro confederation. These heads are not fragments of larger figures and the bases used as plinths are not broken. In 1852, the British missionary George Thompson discovered five of these objects at the foot of a tree, all of which may have been accidentally or deliberately damaged. When he asked the local rulers about the origin of the stones, they replied that these objects must have grown here, as none of their people could make such things. A wide-ranging mineralogical test carried out by the Musée de l'Homme in 1945 on around 300 objects revealed that around two thirds were made of steatite (= soapstone, a naturally occurring chemical substance that is easy to work with) and the remainder of chlorite schist, amphibolite, granite and dolerite. Stylistically, the evidence is very similar to the Afro-Portuguese ivory carvings from the 16th and early 17th centuries that were made in the same area by local craftsmen on behalf of the Portuguese nobility. European merchants referred to this area along the coast as the "Land of the Sapes" (or Sapis). It is difficult to say how old the stonework really is, but the evidence so far suggests that the early work is related to the Sapi class of the time. Although the Kissi in particular have long upheld the ancient tradition, stone carving is now practiced in this region for decorative purposes only. Further reading: F.J. Lamp (2018). Ancestors in Search of Descendants: Stone Effigies of the Ancient Sapi. New York: QCC Art Gallery Press, New York. -------------------------------------------- Gérald Minkoff and Muriel Olesen Muriel Minkoff-Olesen (1948- 2020) completed her training at the School of Design in Geneva. Gérald Minkoff (1937-2009) was a trained anthropologist and biologist. Both achieved fame as artists and from their meeting in 1967, the emblematic couple of contemporary art were inseparable. The travel-loving Olesen-Minkoff duo explored life like curious nomads, roaming the globe from Africa to Asia, Oceania, America and Patagonia. As artists and experienced collectors of contemporary art, they understandably had a keen sensitivity to the aesthetics and concepts of non-European art. The couple's Geneva apartment, perhaps their most beautiful joint work, thus became a place where the works of close friends such as Daniel Spoerri, Arman and Man Ray, as well as their own photographs, lived together with almost a thousand objects from Africa, Oceania, Asia and South America. CHF 2 000 / 4 000 Weight in grams: 848 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of rec

Estim. 2 000 - 4 000 CHF

Lot 33 - A Mende Mask, "soweï" - Mask, "soweï" Mende, Sierra Leone Ohne Sockel / without base Wood, raffia. H 28 cm. Provenance: - English private collection. - Sotheby & Co, London, 27.06.1960, lot 84. - Romy Rey, Zürich. - 1970: Gérald Minkoff (1937-2009) and Muriel Olesen (1948-2020), Geneva. Described at Sotheby's (London, 27.06.1960, lot 84) as follows: "A Mendi Bundu Secret Society Hood Mask, the hair arranged in three back-sweeping ridges, the mouth and eyes pierced, painted black with a small fiber cape, 12in., Sierra Leone" According to Sotheby's sales list for the above sale, the lot was sold to "Romyn" for £6, and according to a handwritten note by Gerald Minkoff, he acquired the mask in Zurich in 1970 ("Temne/ acquis Zürich 1970"). -------------------------------------------- Handwritten note by unknown regarding this mask: "Mende - Bundu: brought back in 1898 by English Missionary. Sotheby's 1962". -------------------------------------------- This sowei mask represents the legacy of the founder of the tribe and is directly linked to the water spirits worshipped in the area. It was danced exclusively by women from a higher order of the sande confederation. Originally, the graceful masked figure performed at ancestor celebrations, festive receptions, legal ceremonies and, above all, initiations. She prepared young girls for their later roles as wives and mothers and thus also exerted political influence. For the Mende, beauty manifests itself in its highest form in people and especially in women, whom they revere as the most magnificent beings in creation. All the attributes of the mask stand for positive qualities of the wearer, such as intelligence, bravery and honesty. The elaborate hairstyle stands for the discipline and status of the mask wearer. The shiny patina and the strong neck symbolize health and fertility, while the delicately designed face stands for beauty and harmony. Further reading: Gottschalk, Burkhard (1990). Bundu. Meerbusch: Verlag U. Gottschalk. -------------------------------------------- Gérald Minkoff and Muriel Olesen Muriel Minkoff-Olesen (1948- 2020) completed her training at the School of Design in Geneva. Gérald Minkoff (1937-2009) was a trained anthropologist and biologist. Both achieved fame as artists and from their meeting in 1967, the emblematic couple of contemporary art were inseparable. The travel-loving Olesen-Minkoff duo explored life like curious nomads, roaming the globe from Africa to Asia, Oceania, America and Patagonia. As artists and experienced collectors of contemporary art, they understandably had a keen sensitivity to the aesthetics and concepts of non-European art. The couple's Geneva apartment, perhaps their most beautiful joint work, thus became a place where the works of close friends such as Daniel Spoerri, Arman and Man Ray, as well as their own photographs, lived together with almost a thousand objects from Africa, Oceania, Asia and South America. CHF 3 000 / 6 000 Weight in grams: 1242 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 3 000 - 6 000 CHF

Lot 34 - A Mende Figure, "kambei / minsereh" - Figure, "kambei / minsereh" Mende, Sierra Leone Ohne Sockel / without base Wood, glass beads. H 46 cm. Provenance: - Galerie Maria Wyss, Basel. - Rosmarie Suzanne Kiefer (1927-2021), Basel. Acquired before 1976. - Community of heirs Suzanne Kiefer. According to Hommel (op. cit.), the female Mende figures belonged to the yassi society and were called minsereh. According to Hart (op. cit.), they belonged to the njayei association and were called kambei. Both sources see their use in the context of initiation and healing. According to them, they embodied fertility and had protective and therapeutic powers. As ancestor figures that stood in protected altars, they were materialized connections to the founders of the lineage and were also used for divination. Further reading: - Hart, William (1993). Sculptures of the Njayei Society among the Mende. Los Angeles: African Arts Magazine, Vol 26, No. 3. - Hommel, William L. (1974). Art of the Mende. College Park: The Art Gallery and Department of Art, University of Maryland. CHF 3 000 / 6 000 Weight in grams: 681 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 3 000 - 6 000 CHF

Lot 35 - A Dogon Figure - Standing figure Dogon, Mali Mit Sockel / with base Wood. H 95,5 cm. Provenance: - Pierre Vérité (1900-1993), Galerie Carrefour, Paris. - 1972: Marcel Roux (1909-1993), Paris. - Heirs of Marcel Roux, French-speaking Switzerland. The Dogon people currently number around 350,000 and are located in the Hombori Mountains. The small communities living in scattered villages are the successors of the Tellem, whose still existing dwellings can be found high up in the inaccessible cliffs of the Bandiagara rocks, which were declared a World Heritage Site in 1989. The Dogon are primarily known in Western culture for their art. Their works originate from and refer to the fascinating mythology of the ethnic group. The unmistakably geometric, reduced to sparse formal language turns their cult and everyday objects into exemplary examples of traditional African art. Further reading: Leloup, Helene / Rubin, William / Serra, Richard / Baselitz, Georg (1994). Statuaire Dogon. Strasbourg: Éditions Amez. CHF 20 000 / 30 000 Weight in grams: 10700 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 20 000 - 30 000 CHF

Lot 36 - A Bamana Twin Figure, "flanitokele" - Twin figure, "flanitokele" Bamana, Mali Mit Sockel / with base Wood. H 43.5 cm. Provenance: - Baron Frédéric "Freddy" Rolin (1919-2001), Brussels/New York. - Sotheby's, London, 30.11.1981, lot 284. - Unknown collection. - Woolley & Wallis, Salisbury, 02.09.2015, lot 154. - Private collection from western Switzerland. Published: Conru, Kevin / De Grunne, Bernard / Sharkar, Shaouli (2021): Collection Baron Freddy Rolin. Brussels: Conru Editions. Illustration of the colophon. Described at Sotheby's (London, 30.11.1981, lot 284) as follows: "A Bambara wood female Figure of stylized cubist form, standing with the legs flexed and the short arms pendent, incised geometric decoration on the columnar body and angular face, the hair arranged in a transverse ridge and with a fine dark glossy patina, 18in. (45.8cm.)" -------------------------------------------- In Conru (Kevin), Bernard de Grunne & Shaouli Sharkar, "Collection Baron Freddy Rolin", Brussels: Conru Editions, 2021: described in the colophon as a door lock. "Serrure, Bamana, Mali, vers 1900 / Door lock, Bamana, Mali, circa 1900." CHF 1 000 / 2 000 Weight in grams: 922 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 1 000 - 2 000 CHF

Lot 37 - A Bwa Plank Mask, "nwantantay" - Board mask, "nwantantay" Bwa, Burkina Faso Ohne Sockel / without base Wood. H 234.5 cm. W 45 cm. Provenance: - Galerie Walu, Zurich. - Ralph Bänziger, Zurich. - Koller Auctions, Zurich, 30.11.2009, lot 111. - Charles Deprez (1938 - 2018), Lutry. - Community of heirs Deprez. The "nwantantay" dance masks from the Do cult embody a water spirit, with every detail of the richly decorated and carefully painted cult objects having a symbolic meaning. A closer look at this very beautiful example reveals a horned raven, owl, water, houses, crossroads, moon, flute, spirits and much more. The colors not only represent the elements, but can also be reinterpreted again and again depending on the degree of initiation. The mask figure is regarded as the seat of supernatural powers that work for the good of the clan. The decorative motifs on the masks are symbols associated with the deity Do and the clan's myths of origin. The mask is used in dances to promote fertility, a good harvest and also in funeral rituals. Further reading: Roy, Christopher (1987). Art of the Upper Volta Rivers. Meudon: Alain and Françoise Chaffin. Roy, Christopher (2007). Land of the Flying Masks. Munich: Prestel. CHF 4 000 / 6 000 Weight in grams: 8100 Condition: Some vertical restorations (see photos. Some vertical restorations (see photos). -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 4 000 - 6 000 CHF

Lot 38 - A Lobi Figure, "bateba" - Figure, "bateba" Lobi, Burkina Faso Mit Sockel / with base Wood. H 62 cm. Provenance: - Center des Sciences Humaines, Abidjan. - 1969: Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Exhibited: Africa 69, Arts de la Côte-d'Ivoire et de l'Afrique occidentale. Vevey (1969). bateba shrine figures of the Lobi combined a human-like appearance with superhuman qualities. They protected their owners from inaccessible areas such as evil thoughts and witchcraft. Dr. Stephan Herkenhoff, Lobi collector and proven expert on the subject, wrote about the Lobi in 2006 in "Anonyme Schnitzer der Lobi" (Herkenhoff, Stephan and Petra / Katsouros, Floros and Sigrid. Hanover: Ethnographika Hanover): "Originally the Lobi come from Ghana. Around 1770 they moved partly to Burkina Faso and about 100 years later also to the Ivory Coast. Today, around 180,000 Lobi live in this three-country corner. In 1898, the French colonial rulers united the Lobi and their neighboring tribes such as Birifor, Dagara, Teguessie (Thuna), Pougouli and Gan under the term "Cercle du Lobi" for administrative reasons. It is this community that we refer to today when we talk about the "Art of the Lobi". A special feature of African art is that the carvers usually remain anonymous. As a rule, it is tribal art, which must follow a fixed canon, and only in rare cases individual creations. The carvers are therefore rarely known by name. Collectors of African art primarily ask themselves which ethnic group an object comes from. The name of the individual artist is not so important, in contrast to what is customary in the field of Western art. For most tribes, there is relatively little variation in the works of art. The appearance of sculptures or masks varied only slightly from one generation of carvers to the next. In this respect, Lobi art is a real exception. There is a great iconographic diversity here, both in terms of the size of the statues and in terms of the different details (mouth, nose, eyes, ears, hairstyles, arm position, depiction of the chest area, navel, sex, legs, hands, feet, etc.). One reason for this lies in the structure of the tribe. It is not a centrally managed community, but an acephalous society. The Lobi therefore have no kings or cities, only clan chiefs and loose groupings of fortress-like dwellings (called sukalas). As a result, there was little exchange of information over long distances. As a result, many local styles and sub-styles were able to develop within the Lobi style convention. It is also not easy to assign an object to a specific place of origin. This is due to the fact that Lobi families abandon their homes after 2-3 generations because of depleted fields and move to a new area where they find unused land. This is why you get different answers when you ask locals in Africa where a statue comes from (verbal information from Thomas Waigel). Another special feature in the creation of Lobi statues is the fact that, in principle, any man can become a carver." Further reading: Herkenhoff, Stephan and Petra (2013). Carvers of the Lobi. Osnabrück: Stephan Herkenhoff. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region

Estim. 2 000 - 3 000 CHF

Lot 39 - A Senufo Mask, "kponyugo" - Mask, "kponyugo" Senufo, Côte d'Ivoire Mit Sockel / with base Wood. H 81.5 cm. Provenance: Gérald Minkoff (1937-2009) and Muriel Olesen (1948-2020), Geneva. The Senufo are an ethnic group of around 3 million people in the border triangle of Côte d'Ivoire, Mali and Burkina-Faso. Predominantly living in villages, agriculture, formerly supplemented to a greater extent by hunting, forms the economic basis of the ethnic group. They have a distinctive mask system, which is associated with various male associations, including the poro association, and are known among art collectors for their high-quality carvings. The symbolism of the cult and everyday objects is often unclear due to the patchy oral tradition and the initiators' duty of confidentiality. Nevertheless, some references to this rare type of mask can be found in the literature. The menacing appearance of this hybrid creature combines attributes of the crocodile, the hyena and the antelope, reflecting its function in the fight against ominous forces: The powerful jaws studded with pointed teeth reminiscent of a crocodile's or hyena's mouth, the dagger-like tusks resembling the canines of the warthog and the powerful antelope horns emphasize the aggressive characteristics of the masks, from whose maws wild swarms of bees or bursts of fire are said to have occasionally escaped (which is why the mask is also called "cracheur de feu" in French). Further reading: - Hahner-Herzog, Iris (1997). The second face. Munich: Prestel. - Förster, Till (1988). The art of the Senufo. Zurich: Museum Rietberg. ----------------------------------------------------- Gérald Minkoff and Muriel Olesen Muriel Minkoff-Olesen (1948- 2020) completed her training at the School of Design in Geneva. Gérald Minkoff (1937-2009) was a trained anthropologist and biologist. Both achieved fame as artists and from their meeting in 1967, the emblematic couple of contemporary art were inseparable. The travel-loving Olesen-Minkoff duo explored life like curious nomads, roaming the globe from Africa to Asia, Oceania, America and Patagonia. As artists and experienced collectors of contemporary art, they understandably had a keen sensitivity to the aesthetics and concepts of non-European art. The couple's Geneva apartment, perhaps their most beautiful joint work, thus became a place where the works of close friends such as Daniel Spoerri, Arman and Man Ray, as well as their own photographs, lived together with almost a thousand objects from Africa, Oceania, Asia and South America. CHF 4 000 / 8 000 Weight in grams: 4800 Condition: Both small horns glued to the forehead after breakage. Both small horns glued to the forehead after breakage. -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 4 000 - 8 000 CHF

Lot 40 - A Senufo hermaphrodite Figure - Bisexual figure Senufo, Côte d'Ivoire Ohne Sockel / without base Wood. H 56 cm. Provenance: - Pierre Vérité (1900-1993), Galerie Carrefour, Paris. - Marcel Roux (1909-1993), Paris. Acquired before 1960. - Heirs of Marcel Roux, French-speaking Switzerland. CHF 10 000 / 14 000 Weight in grams: 1369 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 10 000 - 14 000 CHF

Lot 41 - A Baule Mask, "kplekple bla" - Mask, "kplekple bla" Baule, Côte d'Ivoire Mit Sockel / with base Wood. H 89 cm. Provenance: - René and and Denise David. Acquired in situ in the 1960s. - Belgian private collection (2005-2023). This buffalo mask, called "kplekple bla", was part of the goli dance. It was performed, for example, after the harvest, at receptions, at funeral ceremonies and in times of danger. In order to ward off coming misfortune, a connection was made to the supernatural powers that have a direct influence on people's lives A goli ensemble comprised three to four pairs of masks that were regarded as a family: The zoomorphic goli-glin buffalo masks (father), the anthropomorphic kpan and kpan-pre masks (mother) and the disc-shaped kple-kple masks (daughter and son). In particular, the buffalo in the goli dance was also meant to keep wild animals - such as antelopes and bush cows, which ate the grass off the roofs of the huts - away from the village. This mask impressively illustrates the aesthetic concepts that helped avant-garde artists at the beginning of the 20th century to find new paths in the language of form - in particular the simultaneous representation of Cubism. Further reading: Vogel, Susan M. (1997). Baule. New Haven: Yale University Press. CHF 10 000 / 15 000 Weight in grams: 7600 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 10 000 - 15 000 CHF

Lot 42 - A Baule Mask, "mblo" - Mask, "mblo" Baule, Côte d'Ivoire Ohne Sockel / without base Wood, bronze. H 31 cm. Provenance: - Private collection P. Bernades, Paris. - Galerie Lecomte, Alain and Abla Lecomte, Paris. - 2008: Private collection in French-speaking Switzerland. Published: Expo cat. "Tribal & Textile Arts 2008", San Francisco, 2008 (Lecomte) Exhibited: San Francisco, CA, USA: "Tribal & Textile Arts Show. Fine art of native cultures", February 8-10, 2008 (Lecomte) Expertise no 201.01.08 de A. Lecomte, Paris. Dignified dance mask of the entertaining mblo dance theater, which was repeatedly redefined in a similar way to the commedia dell'arte. The characters and masks as well as the plot structure offered the trained performers room and opportunity for improvisation. The idealized, introverted face was usually the portrait of a well-known person. The elaborate hairstyle, an expression of personal beauty and the desire to give pleasure to others, testifies to the carver's craftsmanship and the pleasure he took in giving free rein to his skills. Further reading: Vogel, Susan M. (1997). Baule. Yale: University Press. CHF 10 000 / 15 000 Weight in grams: 506 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 10 000 - 15 000 CHF

Lot 43 - A Kulango Heddle Pulley - Roller train Kulango (Nafana, Abron), Côte d'Ivoire, Bondoukou region Mit Sockel / with base Wood. H 18,5 cm. Provenance: - 1980: Samir Borro, Paris. - Hans Rudolf Germann, inherited from his father, Herrliberg. - Koller Auctions, Geneva, 11.12.2013, lot 299. - Private collection from French-speaking Switzerland. Described as follows in the seller's collection inventory: "Poulie de métier à tisser en bois marron teinté en noir. L'étrier est surmonté de deux colonnettes à cannelures obliques qui portent un visage (masque?) d'où surgissent deux cornes en forme de croissant. Décor très élaboré sur tout l'objet, excepté le visage et l'arrière des cornes. Les montants de l'étrier s'ornent de sabliers couchés, le corps de 3 registres de triangles, les tranches de rectangles striés, croix de St-André et bandes de triangles, et l'arc bordant le corps d'une ligne de carrés; le dos de l'étrier est décoré d'un zigzag en haut, et de stries obliques sur les montants. Les traits saillants du visage sont une bouche oval (avec ébauche de moustaches de chat aux commissures), un nez en forme de verre à liqueur renversé, des yeux globuleux ornés d'un guillochis sur la paupière supérieure. En creux, barbe et sourcils, et deux losanges gravés sur chaque tempe. La coiffure, bordée d'un bandeau gravé de carrés, est délicatement décorée de chevrons et guillochis, les cornes le sont de triangles et losanges gravés. Oreilles triangulaires, percées et gravées. Le trou de suspension est trans-versal, renforcé sur le devant par un cerclage de laiton. Le fil de suspension a laissé sa marque dans le bois, clair et lisse sur son passage. Bobine en bois, aux bords usés, conservée sur son axe. Le double montant portant le "masque" rappelle les masques bedu des Nafana/Hwela, les multiples gravures ramènent plutôt vers les Kulango/Ligbi, et les yeux globuleux chez les Abron. Tous ces détails situent l'objet dans la région de Bondoukou, à la frontière de la Côte d'Ivoire et du Ghana." ----------------------------------------------------- Surrounding themselves with attractive objects was a fundamental concern of the peoples of Côte d'Ivoire, which is particularly evident in the artistically designed everyday objects, such as weaving roll holders. The pulley is part of the narrow-belt loom. It was used to anchor the roller, through the central groove of which ran the connecting cord of two so-called heddle rods, with the help of which the warp threads could be raised and lowered. Further reading: Förster, Till (1988). The art of the Senufo. Zurich: Museum Rietberg. CHF 1 000 / 2 000 Weight in grams: 81 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 1 000 - 2 000 CHF

Lot 44 - Miniature Mask, "ma go" - Miniature mask, "ma go" Dan, Côte d'Ivoire Ohne Sockel / without base Wood. H 16.5 cm. Provenance: Gérald Minkoff (1937-2009) and Muriel Olesen (1948-2020), Geneva. Miniature masks known as ma go ("little head") are replicas of much larger, identically designed dance masks, with which spiritual contact could be made with the "mother mask" depicted. They belong to the personal possessions of initiated men and are kept in a special place in the house if they are not carried on the body or in a bag. The many names such as "passpartout", "passeport mask" or "travel mask" are due to the fact that the owner can identify himself as an initiate by showing the mask he carries with him, especially when traveling. The presentation of the insignia emphasized membership, rank and the right to be present at meetings and to have a say in deliberations. In addition, the artistically crafted hand flatterers were above all strength-giving and protective amulets that were supposed to keep away all dangers and illnesses. Further reading: Fischer, Eberhard / Himmelheber, Hans (1976). The art of Dan. Museum Rietberg: Zurich. ----------------------------------------------------- Gérald Minkoff and Muriel Olesen Muriel Minkoff-Olesen (1948- 2020) completed her training at the School of Design in Geneva. Gérald Minkoff (1937-2009) was a trained anthropologist and biologist. Both achieved fame as artists and from their meeting in 1967, the emblematic couple of contemporary art were inseparable. The travel-loving Olesen-Minkoff duo explored life like curious nomads, roaming the globe from Africa to Asia, Oceania, America and Patagonia. As artists and experienced collectors of contemporary art, they understandably had a keen sensitivity to the aesthetics and concepts of non-European art. The couple's Geneva apartment, perhaps their most beautiful joint work, thus became a place where the works of close friends such as Daniel Spoerri, Arman and Man Ray, as well as their own photographs, lived together with almost a thousand objects from Africa, Oceania, Asia and South America. CHF 800 / 1 200 Weight in grams: 43 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 800 - 1 200 CHF

Lot 45 - A Dan Mask, "bagle" - Mask, "bagle" Dan, Côte d'Ivoire Mit Sockel / with base Wood. H 27 cm. Provenance: - Aristide Courtois (1883-1962), Paris. - Flak Gallery, Roland Flak, Paris. - 2005: Private collection in French-speaking Switzerland. A certificate (Certificat d'authenticité ) from Roland Flak will be given to the buyer. Described by Roland Flak in 2005 as follows: "Description: Taillé dans un bois dur, cette sculpture possède une patine très foncée et luisante. Le front bombé est surmonté d'une frise figurant des cornes de gazelle des forêts, sur le plan médian dans le prolongement du nez, le front est barré par une arête. Les yeux sont tubulaires, le nez est épaté et droit. Les lèvres en avancée sont charnues et sensuelles. Just as on the mask, the inner face presents a sombre patina that attests to the antiquity and use of this mask. An exceptional strength and sensuality is revealed. Provenance: This type of Dan mask is very rare and the few examples that have been found were made in Europe in the early decades of the 20th century. C'est ce même type de masque qui figure en frontispice du livre de Paul Guillaume et Thomas Munro dans Primitive Negro Sculpture, New York 1926. Ce masque de toute évidence date du dernier quart du 19ème s. ou du tout début du 20ème s. Ce masque rapporté dans le premier quart du XX° s. en France, provient de l'ancienne collection Courtois, administrateur colonial français, en poste au Gabon entre 1910 et 1938, réputé pour la qualité de sa collection." ----------------------------------------------------- The bagle mask (also known as a bugle) probably represents a Diana cat, which is considered a wild creature by the Dan people. The figure was intended to frighten the audience and provoke a reaction within the community by causing unrest and disorder. It is assumed that the bugle-Makse was danced in pre-war ceremonies to prepare the village for upcoming conflicts. Further reading: Fischer, Eberhard / Himmelheber, Hans (1976). The art of Dan. Zurich: Museum Rietberg. ----------------------------------------------------- Unsold at Sotheby's, Paris, "Living Contemporary" (09.03.2022, lot 26). CHF 8 000 / 12 000 Weight in grams: 1253 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 8 000 - 12 000 CHF

Lot 46 - A Dan Spoon, "wunkirmian" - Spoon, "wunkirmian" Dan, Côte d'Ivoire Mit Sockel / with base Wood. H 52 cm. Provenance: - Galerie Robert Duperrier (1917-1996), Paris. - Presumably Vittorio Mangiò, Monza. - Waltraud (Wally) and Udo Horstmann, Zug. - Ernst Winizki (1915-1997), Zurich. - 1997: Gallery Jean-Baptiste Bacquart, London. - Gallery Patrik Fröhlich, Zurich. - Private collection, French-speaking Switzerland. Published: Homberger, Lorenz (1990). African spoons. Zurich: Museum Rietberg. No. 27. Exhibited: Museum Rietberg, Haus zum Kiel. African spoons, 1990. Described at Sotheby's (NY, 05.05.1997, lot 80) as follows: "A Dan Spoon. The elongated body issuing a cylindrical neck terminating in a water Buffalo head with incised mouth, tubular eyes and upturned curved horns, vegetal string around the neck; rich encrusted dark brown patina. $10,000-15,000" ----------------------------------------------------- Surrounding oneself with attractive objects has always been an essential concern of all peoples. The pursuit of beauty also comes to the fore in the shaping of artfully designed everyday objects. The creative will to create perfect solutions in the fusion of technical-practical and formal-aesthetic functions has produced amazingly fascinating solutions over the generations. Prestige spoon with an elongated spoon bowl depicting the "womb pregnant with rice" (also known as "wa ke mia") and a rifle-shaped handle. The spoon is the material manifestation of an auxiliary spirit for high-ranking hostesses, who used it to symbolically distribute food during ceremonies and ritual dances. During the harvest season between November and February, numerous festivities lasting several days took place, festivities lasting several days, to which every villager contributed what they could. After various events and dance performances, the women would prepare the final feast, at the start of which they would parade with their elaborately and delicately decorated rice spoons and bowls. Further reading: Fischer, Eberhard / Himmelheber, Hans (1976). The art of Dan. Zurich: Museum Rietberg. CHF 3 000 / 6 000 Weight in grams: 1957 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 3 000 - 6 000 CHF

Lot 47 - A Nyabwa Mask - Mask Nyabwa (Krou), Côte d'Ivoire Mit Sockel / with base Wood, metal. H 47 cm. Provenance: - Josef Müller (1887-1977), Solothurn. - Museum Barbier-Mueller, Geneva. - 1981: Gallery Walu, Zurich. - 2017: Swiss private collection, Zurich. A confirmation of provenance from the Museum Barbier-Mueller will be provided to the buyer. Presumably this mask, like the masks of neighboring ethnic groups, was once used to prepare men for war, although it certainly appeared, as so often, on a wide variety of occasions. The combination of anthropomorphic and zoomorphic facial features gives this mask a particularly impressive expressiveness. This boldly conceived mask is an extremely successful example of a skillful abstraction of naturalistic models, which was a major source of inspiration for Western artists in the early 20th century on the road to Cubism Works of art of this kind, which were on display in France, for example in the former Musée d'Ethnographie du Trocadéro in Paris, are demonstrably among the most important sources of inspiration for 20th century art. When Europe's avant-garde artists - including André Derain, Maurice de Vlaminck and Henri Matisse - began their search for liberation from Western patterns of thought and art at the turn of the century, they favored a shift from perceptual to conceptual art. In the course of this debate, Cubism emerged as one of the most important art movements of modernism. Further reading: Verger-Fèvre, Marie-Noël: Côte d'Ivoire: Masques du pays Wé, in: Tribal. Le magazine de l'art tribal. No. 9/2005. Bruxelles: Primedia s.p.r.l. CHF 8 000 / 12 000 Weight in grams: 3300 Condition: Both upper semicircular arches (above the eye area) joined after break. Both upper semicircular arches (above the eye area) joined after break. -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 8 000 - 12 000 CHF

Lot 48 - A Wè-Guéré Mask - Mask with double pair of eyes Wè-Guéré, Côte d'Ivoire Mit Sockel / with base Wood. H 27 cm. Provenance: - 1928 - 1931: Charles Hug (1899-1979), Paris/Zurich. - Sotheby's Paris, 23.06.2006, lot 159. - Private collection from French-speaking Switzerland. Published: Wettstein, Isabelle / Fischer, Eberhard / Homberger, Lorenz (1997). Masks of the Wè and Dan - Ivory Coast. The collection of the Swiss painter Charles Hug 1928 - 31. With a contribution on Wè masks by Hans Himmelheber. Zurich: Museum Rietberg. Catalog no. 18. Exhibited: Museum Rietberg, Zurich (1997). "Masken der Wè und Dan, Die Sammlung des Schweizer Malers Charles Hug Paris 1928-31 mit einem Beitrag zum Maskenwesen der Wè". Described at Sotheby's (Paris, 23.06.2006, lot 159) as follows: "MASQUE, WÉ, CÔTE D'IVOIRE Le visage est sculpté dans un style expressionniste caractéristique, les traits projetés en haut relief : face rectangulaire, concave, dominée par le front à nervure médiane surplombant une double rangée d'yeux - les premiers fendus, aux commissures externes traitées en bandeau projeté dans l'espace, les seconds en demi-sphères, fendus, le nez busqué aux ailes larges encadré par deux cornes striées recourbées vers le bas, bouche aux lèvres charnues occupant toute la largeur de la face. Sombre, greenish patina, with kaolin deposits on the front and eyes. L'intérieur porte une étiquette mentionnant "Coll. Ch. Hug 39" CHF 6 000 / 8 000 Weight in grams: 1465 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 6 000 - 8 000 CHF

Lot 49 - An Akan Pendant, Portrait - Pendant, portrait Akan, Côte d'Ivoire Mit Sockel / with base Gold alloy, approx. 9.6 carats (0.400) with a surface of high gold fineness. W 7 cm. Provenance: - René David (1928-2015), Zurich. - Jean David, Basel. Exhibited: Musée International du Golfe de Guinée, Togo (2005-2011). Expertise of the Swiss Precious Metals Control (gold content approx. 9.6 carats with a surface of high gold fineness). For centuries, the valuable precious metal of the former "Gold Coast" of Africa was the object of interest and desire of African and European merchants. Trade led to the rise of powerful states whose wealth and skill in gold processing became legendary. The local royal courts produced masterful pieces of jewelry, many of which were made using the lost wax technique. Even today, gold jewelry serves as a sign of the royal families' rank and affiliation. The powerful expressiveness of these unique pieces reflects the rich metaphors of the Akan and is based on the tradition of the highly esteemed art of oratory. The motifs depicted always refer to people, animals or objects that allegorically represent praiseworthy qualities and sayings. This idealized portrait probably represents an ancestor and could also be used as a headdress by the wearer. Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. CHF 4 000 / 8 000 Weight in grams: 432 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 4 000 - 8 000 CHF

Lot 50 - An Akan Pendant, Portrait - Pendant, portrait Akan, Ghana / Côte d'Ivoire Mit Sockel / with base Gold alloy, approx. 6 carat (0.250). Surface with finished gilding in high fineness. H 9 cm. Provenance: - Pierre Eric Becker, Cannes. - 1999: Galerie Walu, Zurich. - 2015: Swiss private collection, Zurich. Published: Lüthi, Werner & David, Jean (2009). Exhibition catalog: Helvetic Gold Museum Burgdorf. Gold in the art of West Africa. Zurich: Galerie Walu, page 59. Exhibited: Helvetic Gold Museum Burgdorf. "Gold in the art of West Africa" (2009). Expertise of the Swiss Precious Metals Control (approx. 6 carats with a surface of high gold fineness). For centuries, the valuable precious metal of the former "Gold Coast" of Africa was the object of interest and desire of African and European merchants. Trade led to the rise of powerful states whose wealth and skill in gold processing became legendary. The local royal courts produced masterful pieces of jewelry, many of which were made using the lost wax technique. Even today, gold jewelry serves as a sign of the royal families' rank and affiliation. The powerful expressiveness of these unique pieces reflects the rich metaphors of the Akan and is based on the tradition of the highly esteemed art of oratory. The motifs depicted always refer to people, animals or objects that allegorically represent praiseworthy qualities and sayings. This idealized portrait probably represents an ancestor and could also be used as a headdress by the wearer. Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. CHF 3 000 / 6 000 Weight in grams: 813 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 3 000 - 6 000 CHF

Lot 51 - A Baule Ceremonial Whisk, "nandwa blawa" - Ceremonial frond, "nandwa blawa" Baule, Côte d'Ivoire Mit Sockel / with base Wood, covered with gold foil, real hair, textile. H 92 cm. Provenance: Swiss private collection, Schwyz. A ceremonial duster called "nandwa blawa" by the Baule and a royal sign of dignity from the family heritage of a ruling clan called "aja". Ceremonial fronds were publicly presented at ceremonies as an outward sign of rank and affiliation. They symbolized the unity of the family and its identity. The motifs depicted, here a trap, always refer to people, animals or objects. They stand for praiseworthy qualities and sayings such as "The elephant does not fall into the trap, he stands on it and destroys it", a linguistic allegory for the ruler's superhuman power. "We cannot live without beautiful things" - this confession by an Akan could also come from the mouth of a Western art lover. In general, the Akan people, to which the Baule also belong, value the use of proverbs as a means of expression. Fronds, for example, are associated with the proverb "Money is like a flywhisk; an individual cannot hold it", which emphasizes the advantage of a community. Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. CHF 2 000 / 4 000 Weight in grams: 1857 Condition: Gold foil partially damaged or missing (see photos). Gold foil partially damaged or missing (see photos). -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 2 000 - 4 000 CHF

Lot 52 - An Asante Linguist Staff, "okyeame poma" - Speaking staff, "okyeame poma" Asante, Ghana Mit Sockel / with base Wood, covered with gold foil. H 161.5 cm. Provenance: - René David (1928-2015), Zurich. - Jean David, Basel. "A speaker makes the chief's words sweet." (Asante proverb). The regents' spokesmen and advisors, known as "okyeame", carry a dignity staff ("poma") carved from wood as a sign of office. This insignia usually consists of several parts that are put together and covered with gold leaf or sheet gold. At its upper end, it is crowned by figurative representations of proverbs. The use of these official symbols dates back to the 17th century. Inspired by the sticks with pommels carried by European merchants, the custom developed that messengers and envoys of the Asante king carried such sticks as a sign of their authority. Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. CHF 3 000 / 6 000 Weight in grams: 1873 Condition: Gold foil partially damaged or missing (see photos). Gold foil partially damaged or missing (see photos). -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 3 000 - 6 000 CHF

Lot 53 - An Asante Ceremonial Sword, "afena" - Ceremonial sword with emblem, "afena" Asante, Ghana Ohne Sockel / without base Emblem: Gold alloy (approx. 6 ct) with a high silver content, with a surface of high gold fineness. Sword: wood, covered with gold foil, iron blade and leather scabbard. L 72 cm. Provenance: - Galerie Walu, Zurich. - 1994: - Rudolf and Leonore Blum (1919-2009 / 1923-2013), Zumikon. - Hammer Auctions, Zurich, 03.12.2016, lot 53. - Swiss private collection, Schwyz. Published: Blum, Rudolf (2007). The Rudolf and Leonore Blum Collection. Volume 3 A. Zumikon: self-published. No. 219. - Expertise of the Swiss Precious Metals Control (gold content approx. 6 carats with a surface of high gold fineness). - A certificate from Galerie Walu (1994) will be given to the buyer. The Akan state swords known as afena are among the most important regalia at court. They appear as the prestige objects par excellence on various official occasions, for example on the occasion of the enthronement of a new regent or during purification ceremonies. The sword emblems (abösodeë) are hollow-cast, magnificent gold ornaments of court art, usually depicting animals and proverbs. They symbolize the wealth and power of the state and are held in the hands of the high-ranking, official sword bearers of the entourage on the edges of the ceremonial swords - in such a way that the handle points towards the asantehene, the regent. The enchanting, finely crafted, curled snake is a gaboon viper holding a prey animal, a small frog, in its mouth. The proverb for the snake is "The black cobra is feared even when it has no evil intentions", which can be interpreted as "Always be on your guard". However, the depiction with a frog in its mouth is very unusual, as the prey animal is usually a hornbill or an antelope. With its symbolism, the insignia refers to the lineage and rank of the wearer, who is believed to be protected from evil eyes by the power of the jewelry. Further reading: Ross, Doran H. et al. (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. CHF 4 000 / 6 000 Weight in grams: 983 Condition: Gold foil partially damaged or missing (see photos). Gold foil partially damaged or missing (see photos). -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 4 000 - 6 000 CHF

Lot 54 - An Asante Bracelet, "benkun benfra" - Two-piece bangle, "benkun benfra" Asante, Ghana Mit Sockel / with base Gold alloy of low fineness and a surface with finished gilding of high fineness. W 13.5 cm. Provenance: - American private collection, Detroit. - Gallery Walu, Zurich (2013). - 2017: Swiss private collection, Schwyz. For centuries, the valuable precious metal from the former "Gold Coast" of Africa was the object of interest and desire of African and European merchants. Trade led to the rise of powerful states whose wealth and skill in gold processing became legendary. The local royal courts produced masterful pieces of jewelry, many of which were made using the lost wax technique. Even today, gold jewelry serves as a sign of the royal families' rank and affiliation. The powerful expressiveness of these unique pieces reflects the rich metaphors of the Asante and is based on the tradition of the highly esteemed art of oratory. The motifs depicted always refer to people, animals or objects that allegorically represent praiseworthy qualities and sayings. The "benkun benfra" bracelet is traditionally worn by regents on the left arm. The insignia refers to the lineage and rank of the wearer, who is believed to be protected from negative forces by the power of the jewelry. Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. CHF 2 000 / 4 000 Weight in grams: 618 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 2 000 - 4 000 CHF

Lot 55 - An Asante Linguist Staff Finial, "okyeame poma" - Upper part of a speaker's baton, "okyeame poma" Asante, Ghana Mit Sockel / with base Wood, covered with gold foil. H 31 cm. Provenance: - Heinz G. Kolerski (1936-2012), Fellbach, Germany. - Auction house Zemanek-Münster, Würzburg, 11.11.2017, lot 154. - Swiss private collection, Schwyz. Described by Zemanek-Münster (Würzburg, 11.11.2017, lot 154) as follows: "Wood, covered in gold leaf, two separately carved figures, fixed to a hemispherical base with short rod-shaped projection and nodus, decorated with fluting, slightly dam., gold overlay rubbed in places, base. The speakers, known as "okyeame", carry a staff "poma" as a sign of their office. The figurative representations on the staffs visualize proverbs, historical events or political positions that the ruler wishes to express. The speakers advise the king on legal matters, make speeches for him and sometimes act as ambassadors." ----------------------------------------------------- "A spokesman makes the chief's words sweet." (Asante proverb). The spokespersons and advisors of the regents, known as "okyeame", carry a dignity staff ("poma") carved from wood as a sign of office. This insignia usually consists of several parts that are put together and covered with gold leaf or sheet gold. At its upper end, it is crowned by figurative representations of proverbs. The use of these official symbols dates back to the 17th century. Inspired by the sticks with pommels carried by European merchants, the custom developed that messengers and envoys of the Asante king carried such sticks as a sign of their authority. Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. CHF 1 000 / 2 000 Weight in grams: 707 Condition: Gold foil partially damaged or missing (see photos). Gold foil partially damaged or missing (see photos). -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 1 000 - 2 000 CHF

Lot 56 - An Asante Beetle-shaped Ornament for Gunbearer's Regalia - Beetle-shaped decoration for the insignia of the weapon bearers Asante, Ghana Mit Sockel / with base Gold alloy, approx. 12 carat (0.500) with a surface of high gold fineness. H 5.5 cm. Provenance: - Galerie Walu, Zurich. - 1998: Jean David, Basel. Expertise from the Swiss Precious Metals Control (approx. 12 carats with a surface of high gold fineness). For centuries, the valuable precious metal of the former "Gold Coast" of Africa was the object of interest and desire of African and European merchants. Trade led to the rise of powerful states whose wealth and skill in gold processing became legendary. The local royal courts produced masterful pieces of jewelry, many of which were made using the lost wax technique. Even today, gold jewelry serves as a sign of the royal families' rank and affiliation. The powerful expressiveness of these unique pieces reflects the rich metaphors of the Akan and is based on the tradition of the highly esteemed art of oratory. The motifs depicted, here an abstract beetle, always refer to people, animals or objects that allegorically stand for praiseworthy qualities and sayings. Such pieces of jewelry were used to decorate headdresses, bandolier bags, rifles or patron belts of the royal guard Further reading: Ross, Doran and Eisner, Georg (2008). The gold of the Akan. Museum Liaunig. Neuhaus: Museum Administration Ltd. CHF 400 / 800 Weight in grams: 300 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 400 - 800 CHF

Lot 57 - A Koma-Bulsa Zoomorphic figure, “Dog” (?) - Zoomorphic figure, "dog" (?) Koma-Bulsa, Ghana Ohne Sockel / without base Terracotta. H 19 cm. L 27cm. Provenance: - Galerie Walu, Zurich (before 1986). - 1996: German private collection, Bavaria. - 2001: Jean David, Basel. Published: - René and Denise David (1987). Komaland. Zurich: Galerie Walu. Number 681. - Lehuard, Raoul (1987). Arnouville: Arts d'Afrique Noire no. 62, page 26. - Jean David (2003). Ghana, Akan, Komaland. Zurich: Galerie Walu, page 12. Exhibited: - Galerie Walu, Zurich. "Komaland" (1987). - Gallery Walu, Zurich. "Ghana, Akan, Komaland" (2003). Thermoluminescence age determination: 600 years (+/- 20 %). kronkronbua = "children from earlier times". In the 1980s, the first figures of this style made of fired clay were found in the Upper West Region of Ghana, in the area now inhabited by the Koma (e.g. in Yikpabongo, Tantuosi, Wumobri) and the Bulsa (Builsa). Thermoluminescence age determinations dated the objects from the 13th to 18th century CE. Karl Ferdinand Schädler described the new discovery of this culture in 1987 as follows: "Some of them look as if they came from the Bandiagara gorges and were products of the Dogon. But these are only a few. Most of these terracottas from a culture of which nothing is known look more like they come from Somarzo or as if they had sprung from the fantasy world of Hieronymus Bosch: Heads whose braincases are pointed or hollowed out in the shape of a cup, with spectacle-like eyes or ears attached to the back of the head like two handles. Mouths that, separated from some face, unite with other mouths to form a new being that "speaks for itself"; conversely, faces that have also united with others and - equipped with arms and legs - now seem to come directly from the underworld. It seems pointless to puzzle over the world of thoughts and ideas from which these figures, heads and objects originated - whether they were formed as burial objects, ancestral or cult figures. Perhaps it is even reassuring to know that not every newly discovered secret in Africa can be solved immediately, that - at least for a while - a culture cannot be dissected like a corpse: Because neither oral traditions nor archaeological by-products provide any clues. Instead, we should perhaps content ourselves with admiring the ingenuity of the design on the one hand and the powerful, expressive expression inherent in these sculptures on the other. Judging by these two criteria and by the outward appearance of the objects, they appear to be different styles, if not different cultures, which either followed each other or - which also seems possible - were created completely independently one after the other in the same region. One of the styles shows a mannerist character: the deliberately displaced facial features, which often lend the figures, mostly seated figures with necklaces, dignity marks or upper arm knives, an uncanny, transcendental, sometimes even malignant expression - princes of another world. As with many of the apparently singularly designed heads, which usually end in a tapered neck, the heads of the figures are often hollowed out in the shape of a cup. The hands usually rest on the knees (occasionally quite unmotivated on one of the shoulders) and the genitals - the majority are male - are often oversized and clearly modeled. The individually sculpted heads are generally much larger than the figures; they are also usually coarser in execution and much more primal and direct in style. Another style, which is expressed above all in the heads of theriomorphic creatures, often shows a wide-open, apparently screaming mouth and is then reminiscent of Gothic gargoyles. The people of this culture must have paid particular attention to Janus-shaped heads and multi-headed creatures. The former, conceived as individual sculptures, sometimes take on a phallic character due to the conically tapered heads (they are also straight at the bottom, not conical like the "hollow heads" found stuck around the graves). The latter multi-headed creatures, like the Janus-shaped single heads, also have conically tapering pointed heads; the bodies of these, of which up to four figures can be found in one sculpture, are, however, very rudimentarily shaped as a rectangular block, with only hinted at limbs and genitals. What else will come to light from this area in northern Ghana, which is now inhabited by the Koma (also Komba, Konkomba, Bekpokpak etc.)? Was the settlement from which the finds originate also a Umsc

Estim. 3 000 - 6 000 CHF

Lot 58 - A Koma-Bulsa seated janiform Figure, "kronkronbua" - Seated Janus figure, "kronkronbua" Koma-Bulsa, Ghana Mit Sockel / with base Terracotta. H 42 cm. Provenance: - Galerie Walu, Zurich (before 1986). - 1996: German private collection, Bavaria. - 2001: Jean David, Basel. Published: Peter Baum, Ursprung der Moderne, OÖ. Landesmuseum 1990, Neue Galerie der Stadt Linz, p. 45. fig. 1.7 Exhibited: - Gallery Walu, Zurich. "Komaland" (1987). - Upper Austrian Provincial Museum, New Gallery of the City of Linz (1990). Thermoluminescence age determination: 600 years (+/- 20 %). kronkronbua = "children from earlier times". In the 1980s, the first figures of this style made of fired clay were found in the Upper West Region of Ghana, in the area now inhabited by the Koma (e.g. in Yikpabongo, Tantuosi, Wumobri) and the Bulsa (Builsa). Thermoluminescence age determinations dated the objects from the 13th to 18th century CE. Karl Ferdinand Schädler described the new discovery of this culture in 1987 as follows: "Some of them look as if they came from the Bandiagara gorges and were products of the Dogon. But these are only a few. Most of these terracottas from a culture of which nothing is known look more like they come from Somarzo or as if they had sprung from the fantasy world of Hieronymus Bosch: Heads whose braincases are pointed or hollowed out in the shape of a cup, with spectacle-like eyes or ears attached to the back of the head like two handles. Mouths that, separated from some face, unite with other mouths to form a new being that "speaks for itself"; conversely, faces that have also united with others and - equipped with arms and legs - now seem to come directly from the underworld. It seems pointless to puzzle over the world of thoughts and ideas from which these figures, heads and objects originated - whether they were formed as burial objects, ancestral or cult figures. Perhaps it is even reassuring to know that not every newly discovered secret in Africa can be solved immediately, that - at least for a while - a culture cannot be dissected like a corpse: Because neither oral traditions nor archaeological by-products provide any clues. Instead, we should perhaps content ourselves with admiring the ingenuity of the design on the one hand and the powerful, expressive expression inherent in these sculptures on the other. Judging by these two criteria and by the outward appearance of the objects, they appear to be different styles, if not different cultures, which either followed each other or - which also seems possible - were created completely independently one after the other in the same region. One of the styles shows a mannerist character: the deliberately displaced facial features, which often lend the figures, mostly seated figures with necklaces, dignity marks or upper arm knives, an uncanny, transcendental, sometimes even malignant expression - princes of another world. As with many of the apparently singularly designed heads, which usually end in a tapered neck, the heads of the figures are often hollowed out in the shape of a cup. The hands usually rest on the knees (occasionally quite unmotivated on one of the shoulders) and the genitals - the majority are male - are often oversized and clearly modeled. The individually sculpted heads are generally much larger than the figures; they are also usually coarser in execution and much more primal and direct in style. Another style, which is expressed above all in the heads of theriomorphic creatures, often shows a wide-open, apparently screaming mouth and is then reminiscent of Gothic gargoyles. The people of this culture must have paid particular attention to Janus-shaped heads and multi-headed creatures. The former, conceived as individual sculptures, sometimes take on a phallic character due to the conically tapered heads (they are also straight at the bottom, not conical like the "hollow heads" found stuck around the graves). The latter multi-headed creatures, like the Janus-shaped single heads, also have conically tapering pointed heads; the bodies of these, of which up to four figures can be found in one sculpture, are, however, very rudimentarily shaped as a rectangular block, with only hinted at limbs and genitals. What else will come to light from this area in northern Ghana, which is now inhabited by the Koma (also Komba, Konkomba, Bekpokpak etc.)? Was the settlement from which the finds originate also a trading center for goods - kola nuts from the coast, gold, salt, European goods, etc.? - like Salaga at the end of the last century

Estim. 3 000 - 6 000 CHF

Lot 59 - A Yoruba Pair of Twin Figures, "ere ibeji" - Pair of twin figures, "ere ibeji" Yoruba, Nigeria, Kogi State, Egbe Mekun (town) Ohne Sockel / without base Wood, glass beads. H 29 - 30 cm. Provenance: - Mareidi and Gert Stoll, Galerie Schwarz-Weiss, Munich. - Swiss private collection. Published: Stoll, Gert / Stoll, Mareidi / Klever, Ulrich (1980). Ibeji, twin figures of the Yoruba. Self-published. Page 279. Described by Gert and Mareidi Stoll 1980 in "Ibeji, Zwillingsfiguren der Yoruba" on page 279 as follows: "Ibeji pair, Egbe (llorin) area/Kwara State. High, crown-shaped hairstyles and hands folded over the stomach characterize these Ibeji. In these very beautiful specimens, the contours of the faces are barely recognizable treatment in the cult." -------------------------------------------- Twins have always been the subject of puzzles: deified or demonized, in legends and myths, even in astrology, we find the pairs as an expression of the fascination that emanates from them. This is also the case with the Yoruba people in south-western Nigeria, who have been proven to have the highest twin birth rate in the world. The Yoruba attribute special supernatural powers to twins. On the one hand, they bring luck, health and prosperity to the family and, on the other, they can ward off disaster, illness and death. For this reason, they enjoy special interest throughout their lives. For the Yoruba, twins have a common indivisible soul. If one of the twins dies, the balance of this unity is disturbed and the surviving twin is consequently endangered. To avoid this, a wooden figure, called ibeji, is consecrated in a ceremonial ritual as a symbolic substitute home for the soul of the deceased. The well-being of the second twin then depends on the care and veneration of this ibeji. At the same time, another figure is made to house the soul of the second twin. Once both twins have died, the figures continue to be carefully guarded and kept as mementos until no one can remember the deceased. Further reading: Chemeche, George (2003). Ibeji. The Cult of Yoruba Twins. Milan: 5 Continents Editions. CHF 4 000 / 8 000 Weight in grams: 532 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 4 000 - 8 000 CHF

Lot 60 - Zwillingsfigur, "ere ibeji", Workshop of Bogunjooko - Twin figure, "ere ibeji", workshop of Bogunjooko Yoruba (Igbomina), Nigeria, Osun State, Ila Orangun (town), Isedo District Ohne Sockel / without base Wood, glass beads, metal. H 31 cm. Provenance: - Walter Häusler, Tägerwilen. Acquired in Nigeria in the 1960s. - Hammer auction 48, 11.12.2019, lot 45. - 2019: François Mottas, Lausanne. Published: Van Doorn, Ron / Herbert M. Cole (2021): Akua'ba Asante. Wednesday Child, Dongen: Akuaron. Page 35, fig. 17 (center). Work by an unknown sculptor who was active in the second half of the 19th century and was also a master of the unmistakable style of the Bogunjooko school of sculpture (ca. 1800-70). ----------------------------------------------------- Twins have always been the subject of puzzles: deified or demonized, in legends and myths, even in astrology, we find the pairs as an expression of the fascination that emanates from them. This is also the case with the Yoruba people in south-western Nigeria, who have been proven to have the highest twin birth rate in the world. The Yoruba attribute special supernatural powers to twins. On the one hand, they bring luck, health and prosperity to the family and, on the other, they can ward off disaster, illness and death. For this reason, they enjoy special interest throughout their lives. For the Yoruba, twins have a common indivisible soul. If one of the twins dies, the balance of this unity is disturbed and the surviving twin is consequently endangered. To avoid this, a wooden figure, called ibeji, is consecrated in a ceremonial ritual as a symbolic substitute home for the soul of the deceased. The well-being of the second twin then depends on the care and veneration of this ibeji. At the same time, another figure is made to house the soul of the second twin. Once both twins have died, the figures continue to be carefully guarded and kept as mementos until no one can remember the deceased. Further reading: Chemeche, George (2003). Ibeji. The Cult of Yoruba Twins. Milan: 5 Continents Editions. CHF 2 000 / 3 000 Weight in grams: 409 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 2 000 - 3 000 CHF

Lot 61 - A Yoruba Pair of Twin Figures, "ere ibeji" - Pair of twin figures, "ere ibeji" Yoruba, Nigeria, Oyo State, Ibarapa, Eruwa (town) Ohne Sockel / without base Wood, glass beads. H 26 - 26,5 cm. Provenance: - Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Twins have always been the subject of puzzles: deified or demonized, in legends and myths, even in astrology, we find the pairs as an expression of the fascination that emanates from them. This is also the case with the Yoruba people in south-western Nigeria, who have been proven to have the highest twin birth rate in the world. The Yoruba attribute special supernatural powers to twins. On the one hand, they bring luck, health and prosperity to the family and, on the other, they can ward off disaster, illness and death. For this reason, they enjoy special interest throughout their lives. For the Yoruba, twins have a common indivisible soul. If one of the twins dies, the balance of this unity is disturbed and the surviving twin is consequently endangered. To avoid this, a wooden figure, called ibeji, is consecrated in a ceremonial ritual as a symbolic substitute home for the soul of the deceased. The well-being of the second twin then depends on the care and veneration of this ibeji. At the same time, another figure is made to house the soul of the second twin. Once both twins have died, the figurines continue to be carefully guarded and kept as mementos until no one can remember the deceased. Further reading: Chemeche, George (2003). Ibeji. The Cult of Yoruba Twins. Milan: 5 Continents Editions. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 400 / 800 Weight in grams: 465 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full re

Estim. 400 - 800 CHF

Lot 62 - An Urhobo Mask, "oniedjo" - Mask, "oniedjo" Urhobo, Nigeria Ohne Sockel / without base Wood. H 47,5 cm. Provenance: - Galerie Ambre Congo, Pierre Loos and Thomas Bayet, Brussels. - 1970-2005: Private collection. - Galerie Ambre Congo, Pierre Loos and Thomas Bayet, Brussels. - 2006: Private collection in French-speaking Switzerland. A certificate (Certificat d'authenticité) from Pierre Loos will be given to the buyer. Described by Pierre Loos in 2006 as follows: "Un masque anthropomorphhe Uhrobo, du Nigéria, de première génération, qui possède encore les pigments rouges, noirs et blancs d'origine. One of the two cornes de la coiffe has a restauration locale ancienne. This mask, of a style known in the various works of reference on the Uhrobos, presents a fine patina of use and all the criteria that allow its antiquity to be certified." ----------------------------------------------------- In the shallow coastal region of the Niger Delta, the numerous rivers with their hundreds of shallow tributaries swell in the rainy season to form a veritable labyrinth of streams and waterways that are connected to the lagoon coast. These fish-rich waters are the livelihood of the local peoples and have facilitated trade contacts between neighboring ethnic groups and with Europeans as transport routes. In this environment, water spirits (edjorame) became important as spiritual forces for the prosperity and well-being of the local population. These powers reside in the water as a whole, which is under their control as much as its users. Regular dances to music and song (oworu) often serve as entertainment, but usually also have a deeper meaning in the worship of these water spirits in order to secure their benevolence. This female mask belongs to the variety of beings that appear on various occasions in a white dress. The white lime deposited on the banks of the rivers is the transition between land and water. It also symbolizes the spiritual interface between the worlds in dance. It is most likely to be a youthful beauty (omotokpokpo) who is also understood as a bride or child of the spirit. Indications of this are the elaborate hairstyle, the impressive scarification marks and the encrusted polychrome frame. The red color is intended to evoke the beautiful tone of skin rubbed with oil and generally stands for fertility, beauty, class and dignity. Further reading: Foss, Perkins (2004). Where Gods and Mortals Meet. New York: Museum for African Art. CHF 4 000 / 6 000 Weight in grams: 761 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 4 000 - 6 000 CHF

Lot 63 - An Igbo-Izzi Mask "ogbodo enyi" - Mask "ogbodo enyi" Igbo-Izzi, Nigeria (Izzi-Ezza, NE Igboland) Mit Sockel / with base Wood, copper. H 35 cm. L 62 cm. Provenance: - Dr. Samir Dallank, Bernay (France). - Georges-Jacques Haefeli (1934-2010), La Chaux-de-Fonds. - Binoche, Paris, 10.10.2005, lot 128. - Private collection, French-speaking Switzerland. Described by Binoche (Paris, 10.10.2005; lot 128) as follows: "Masque Izzi de l'esprit éléphant. Sud-est du Nigeria. Bois à décor pyrogravé, cuivre, traces de polychromie, belle patine d'usage L. 62 cm. € 12.000-15.000 Provenance : Ancienne collection du Docteur Dallanck. Le masque de l'esprit éléphant, ogbodo enyi, est pour les populations lgbo du nord-est un masque de très grand pouvoir. It appears during the ceremonies of the low season and during certain funerary rites. Thanks to its beautiful architecture in light-colored courbes and elegant volumes and the magnificent carving of the human face human face adorning his dos, this mask may well be considered one of the chef-d'œuvres of this artistic production." ----------------------------------------------------- ogbodo-enyi mask ("spirit of the elephant"), which is widespread among the Izzi, Ezzi and Ikwo in the north-eastern Igbo region. Originally, the masked figures, which appeared aggressive and violent, monitored social order, but today their function is largely limited to entertaining dances. This boldly conceived mask is an extremely successful example of a skillful abstraction of naturalistic models, which was a major source of inspiration for Western artists on their way to Cubism at the beginning of the 20th century. Further reading: Cole, Herbert M., Aniakor, Chike, A. (1984). Igbo Arts. Los Angeles: Museum of Cultural History, UCLA. CHF 8 000 / 12 000 Weight in grams: 5800 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 8 000 - 12 000 CHF

Lot 64 - An Igbo Shrine Figure, "agbara" - Shrine figure, "agbara" Igbo, Nigeria, Imo State, Mbaise Region Mit Sockel / with base Wood. H 130 cm. Provenance: Gérald Minkoff (1937-2009) and Muriel Olesen (1948-2020), Geneva. Published: Le Trou / textes réunis et éd. par Jacques Hainard et Roland Kaehr Edité par MEN. Neuchâtel, Suisse - 1990 (?). Exhibited: Musée d'ethnographie de Neuchâtel, "Le Trou" (1991). Described by Gérald Minkoff in an essay in 1990 as follows: "6 Igbo (129.5 cm. 1982). Toi la grande Igbo magnétique qui sut attirer de si loin mon regard au milieu d'un fatras de bric et de broc un jour de marché aux puces à Genève et qui étais encore accompagnée d'une famille d'une dizaine de figurines et de masques de la grande qualité, since then you have been assigned a place near our bed where I have never stopped fixing your eyes, your eyes, la petite éminence de ton larynx, ta chevelure crêtée et festonnée, tes seins minuscules, ton ventre bombé, tes mains aux paumes tournées vers le haut, pour donner et pour recevoir, and your two jowls that don't end up going up to your cuisses, which are well-molded, with a few centimeters of hair and your two feet with the bouton arrondi de la malléole accentuating the adhesion. And I see the reddish anneals of your skin as if the wood from which you were extracted had not been able to grow even more than in the midst of these southern trees, which in Nigeria are called Biafra, you were previously considered a divinity, ou un ancêtre divinisé, mais tu en fus sortie un jour, dans les désastres de la guerre, séparée de l'alignement de tes proches, le long d'un des murs d'une maison dont il ne reste probablement plus trace." ----------------------------------------------------- The interplay of forces is of great importance in the worldview of the Igbo everywhere. This movement is also reflected in their art, which takes on very lively and dynamic traits. This figure, called agbara (also alusi), represents the embodiment of a protective deity, which was kept in a shrine and ritually worshipped. Occasionally it was washed, dyed with redwood powder, ochre and kaolin and presented in public. During these ceremonies, people's relationships with the deities were strengthened through sacrifices (e.g. kola nuts, money or chalk) and the recitation of prayers of thanks and supplication for a rich harvest and prosperity. For the Igbo, beauty had a physical and moral dimension. The long neck, the fine nose, the decorative body painting and the elaborate hairstyle were considered ideals of beauty. This impressive figure with its sublime aura reveals precisely these attributes in exemplary fashion. Further reading: Cole, Herbert M. / Aniakor, Chike C. / Attah Alexander Okwudor / Jenkins, Della / Littlefield Kasfir, Sidney / Weston, Bonnie E. (1984). Igbo Arts. Community and Cosmos. Los Angeles: University of California ; Museum of Cultural History. -------------------------------------------- Gérald Minkoff and Muriel Olesen Muriel Minkoff-Olesen (1948- 2020) completed her training at the School of Design in Geneva. Gérald Minkoff (1937-2009) was a trained anthropologist and biologist. Both achieved fame as artists and from their meeting in 1967, the emblematic couple of contemporary art were inseparable. The travel-loving Olesen-Minkoff duo explored life like curious nomads, roaming the globe from Africa to Asia, Oceania, America and Patagonia. As artists and experienced collectors of contemporary art, they understandably had a keen sensitivity to the aesthetics and concepts of non-European art. The couple's Geneva apartment, perhaps their most beautiful joint work, thus became a place where the works of close friends such as Daniel Spoerri, Arman and Man Ray, as well as their own photographs, lived together with almost a thousand objects from Africa, Oceania, Asia and South America. CHF 4 000 / 8 000 Weight in grams: 9500 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear and tear, signs of use, cracks, even

Estim. 4 000 - 8 000 CHF

Lot 65 - A ljebu-Yoruba Headdress, "igodo" - Headpiece, "igodo" Yoruba-Ijebu, Nigeria Mit Sockel / with base Wood, mirror, nails. H 110 cm. Provenance: - French private collection. - Galerie Ratton-Hourdé, Daniel Hourdé, Paris. - 1991: Madame Ricard. - Blanchet & Associés, Paris. 28.11.2006, lot 22. - French-speaking Swiss private collection. In the shallow coastal region of Ijebu, the numerous rivers with their hundreds of shallow tributaries swell during the rainy season into a veritable labyrinth of streams and waterways that are connected to the lagoon coast. These waters, rich in fish, served as transportation routes for trade between neighbouring ethnic groups and with Europeans. In such an environment, water spirits became important as spiritual forces for the prosperity and well-being of the local population. These beings, responsible for prosperity and the blessing of children, were worshipped in the agbo-ekine cult. The local Ijebu-Yoruba shared this ekine cult with the Ijo and other groups on the Niger Delta coast, and the influence of these neighbors was clearly evident in the design of certain water spirit masks. The water spirits appeared in the form of various masks called igodo, the bird, agira, the antelope, and oni, the crocodile. Further reading: Wittmer, Marcilene K. / Arnett, William (1978). Three Rivers of Nigeria. Atlanta: The High Museum of Art. ----------------------------------------------------- Described by Blanchet & Associés (Paris, 24.11.2006) as follows: "Superbe masque cimier de danses. Il est en bois avec reste de polychromie, ancienne trace de portages localisée. Ce masque au profil d une grande élégance,présente plusieurs animaux et symbole divers s'imbriquant the one in the other. Ijo, Delta region, Nigeria. Provenance : collection privée Paris. Acquis à la galerie Ratton Hourdé Paris. 15 000/18 000 €" CHF 4 000 / 6 000 Weight in grams: 6700 Condition: Some visible defects and missing parts (see photos). Some visible defects and missing parts (see photos). -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 4 000 - 6 000 CHF

Lot 66 - An Ogoni Mask, "elu" - Folding jaw mask, "elu" Ogoni, Nigeria Mit Sockel / with base Wood. H 36 cm. Provenance: - Galerie Storrer, Emil Storrer, (1917-1989), Zurich. - Storrer Gallery, Michael Storrer, Hallau. - 2002: Jean David, Basel. Published: David, Jean (2002). Ogoni. Zurich: Galerie Walu, page 10. Exhibited: Galerie Walu, Zurich. "Ogoni" (2002). A certificate from Galerie Walu (2002) will be given to the buyer. elu called dance mask. The small caricatures of this type of mask stand for a wide variety of characters with their "sky-high noses", full lips, narrow eyes and imaginative head structures. Funny, humorous and tragic-comic, they are illustrations of oral traditions in stories and songs. There is evidence that the Ogoni have inhabited the eastern edge of the Niger Delta in Nigeria for 500 years. According to legend, the ethnic group, which today numbers around 400,000 people and calls itself Kana, originates from the Gana Empire (9th-13th century in the border region of present-day Mali and Mauritania). Today they are culturally and linguistically related to the neighboring Ibibio. Further reading: Anderson, Martha G. / Peek, Philip M. et al. (2002). Ways of Rivers. Los Angeles: Fowler Museum of Cultural History. CHF 3 000 / 6 000 Weight in grams: 800 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 3 000 - 6 000 CHF

Lot 67 - A Bongo Figurative Post, "ngya" - Figural post, "ngya" Bongo, South Sudan Ohne Sockel / without base Wood. H 63 cm. Provenance: - Gallery Tribal Fine Arts, Bernard de Grunne, Brussels. - Swiss private collection, Basel. Published: Foire des Antiquaires de Belgique XLIVe, Brussels, 1999 (de Grunne). Exhibited: Brussels, Belgium: "44e Foire des Antiquaires, Tour & Taxis", February 1999 Ngya named ancestor representations and portrait figures honor well-known, high-ranking dignitaries. Such pole figures were erected in courtyards or settlements near the burial places to commemorate ancestors and in some places, for example on the occasion of judicial hearings, they were asked for wise advice. ----------------------------------------------------- Klaus-Jochen Krüger writes about this type of figure in "Tribal Arts," (op.cit., p. 82): "It is quite unusual to find sculptures from the southern part of Sudan in early collections, whether public or private. This war-torn region has been inaccessible for many years, and, until very recently, southern Sudan was one of the few regions unscathed by African traders scouting for works of art. Sculpture from this remote region has only recently begun to appear in greater numbers on the art market, but despite their lack of pedigree they are worthy of detailed examination." Further reading: Krüger Dr., Klaus-Jochen (1999 / 00). Les Arts du Bahr-el-Ghazal. Tribal Arts, Hiver / Printemps. p. 95ff. CHF 4 000 / 8 000 Weight in grams: 12100 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 4 000 - 8 000 CHF

Lot 68 - A Fang Mask, "bikereu" or "bikeghe" - Mask, "bikereu" or "bikeghe" Fang, Gabon Mit Sockel / with base Wood, upholstered nails, raffia. H 40 cm (63 cm with raffia). Provenance: - Berkeley Gallery, Ernest Ohly (1920-2008), London. - Helmut (1931-2021) and Marianne Zimmer, Zurich. According to the handwritten note and Helmut Zimmer's verbal confirmation, the Zimmer couple acquired this mask at the Ohly Gallery (London). Louis Perrois describes a similar mask from the collection of Josef Mueller on p. 172 (op. cit.). According to him, "the very appearance of the mask is reminiscent of the hideous head of a gorilla (ngi) or even a white man (traces of a moustache). In fact, the Fang have produced many composite, cartoonish masks that mix animal and human elements, resulting in terrifying monsters like this one [...] The Bikereu masks are directly derived from the Ngil masks. They were still used during the last war in the Lambaréné area. Since then, they are still made and used in folkloric dances." Another comparable mask can be found in the Museum du Quai Branly in Paris. It is described there as a "masque justicier bikeghe" and as follows: "Ce masque blanc et noir, au visage allongé et au front proéminent appartient à la famille des masques bikeghe ou ekekek, des masques de "croque-mitaine", parfois des caricatures d'Européens, censés effrayer les spectateurs lors de danses qui ont peu à peu perdu leur rôle sacré pour se transformer, jusque dans les années 1960, en manifestations identitaires, folkloriques et sans caractère religieux." Further reading: Perrois, Louis (1985). Art ancestral du Gabon. dans les collections du Musée Barbier-Mueller. Geneva: Musée Barbier-Mueller. CHF 3 000 / 6 000 Weight in grams: 3307 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 3 000 - 6 000 CHF

Lot 69 - A Hungaan Miniature Figure, "kitekki" - Amulet, "kitekki" Hungana, DR Congo Mit Sockel / with base Ivory. H 5.5 cm. Provenance: - Imelda and Paul Berger-Frei, Riehen. - Berger-Frei community of heirs, Basel. This object is subject to CITES regulations. Please inform yourself about the import regulations of the country of destination before the auction. This item is subject to the regulations of the CITES. Prospective buyers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country. ----------------------------------------------------- CHF 2 000 / 4 000 Weight in grams: 50 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 2 000 - 4 000 CHF

Lot 70 - A Lele, Wongo Figure - Standing male figure Cuba (Lele/Wongo), DR Congo Ohne Sockel / without base Wood. H 34 cm. Provenance: - Jean Marien-Frébutte. Ca. 1930: acquired in situ. - Artcurial, Paris, 22.06.2015, lot 53. - Private collection from western Switzerland. Described as follows by the expert Bernard de Grunne at Artcurial, Briest-Poulain, F. Tajan (Paris, 22.06.2015, lot 53): "STATUETTE GOMA République Démocratique du Congo. Représentant un personnage masculin, debout, sur des jambes tapues et de larges pieds, le bras gauche posé sur la hanche, le bras droit replié, la tête au modelé délicat avec de jolies arcades sourcilières composée de deux rangées de petites projections en forme de losange, un petit bonnet en raphia couvrant l'arrière du crâne caractéristique du style Goma. Brune laquée patina. Provenance: Récolté par Jean Marien-Frebutte in situ, circa 1930. Transmis par descendance à l'actuel propriétaire. 4 000 - 6 000 € La statuaire Goma est fort rare avec seulement six autres statuettes sur pied connus. Trois furent publiées par Felix (M. Felix, 100 People of Zaire and their sculpture. The Handbook, 1987, p.32-33, n°8 et 9) et un couple fut présenté par Sotheby's Paris, (Arts d'Afrique et d'Océanie, 15 juin 2011, lot 11). Une sixième statuette qui était déjà dans la Collection de Carel van Lier, Amsterdam avant 1927 fut vendu en 2004 (Sotheby's, New York, African, Oceanic and Pre-Columbian Art, 14 mai 2004, lot 76). Les Goma sont situés dans le Kivu, aux confins orientaux de la République du Congo. Their style plutôt anguleux avec une approche dynamique des volumes est d'une esthétique proche de leurs voisins Bembe et Boyo." CHF 4 000 / 6 000 Weight in grams: 709 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 4 000 - 6 000 CHF

Lot 71 - A Songye, "nkishi" - Figure, "nkisi" Songye, DR Congo Mit Sockel / with base Wood, glass beads, horn, cowrie shell. H 28.5 cm. Provenance: - Imelda and Paul Berger-Frei, Riehen. - Berger-Frei community of heirs, Basel. The magical figures called "minkisi" (singular "nkisi") granted protection against illness, infertility and other misfortunes and could also provide help in unsolved crimes, for example. They were able to do this thanks to their concentrated powers, which they stored in the form of all kinds of magical substances. These powers could be released during ritual ceremonies and meetings and harnessed for their owners. In contrast to the large representations, which were at the service of an entire community and used their magical powers for numerous people and families, the smaller versions of this type of figurine had a private character and were owned by individuals or a household. Further reading: Neyt, François (2004). La redoutable statuaire Songye d'Afrique Centrale. Brussels: Fonds Mercator. CHF 2 000 / 4 000 Weight in grams: 476 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 2 000 - 4 000 CHF

Lot 72 - A Songye/Luba Figure, "nkisi" - Standing female figure, "nkisi" Songye/Luba, DR Congo Mit Sockel / with base Wood. H 23,5 cm. Provenance: - Imelda and Paul Berger-Frei, Riehen. - Berger-Frei community of heirs, Basel. Protective and fortune-telling figure who could influence events in the owner's favor by commissioning and using magical substances. The powers could be discharged by means of ritual ceremonies and meetings and harnessed for the owner. In return, the figure received numerous sacrifices and attentions in the form of food, oiling and ablutions. The figure is probably an idealized image of a remarkable ancestor who was respected for his social authority during his lifetime and whose influence continued to have a direct impact on society after his death. This materialized interface between this worldly and supernatural powers had a private character and was owned by a single person or household. For the ritual practitioner who created these magic figures and endowed them with their powers, an exact, finely crafted appearance was therefore less important than the figure's effectiveness. Further reading: Nooter Roberts, Mary / Roberts, Allan F. (1996). Memory, Luba Art and the Making of History. New York: The Museum for African Art. CHF 2 000 / 4 000 Weight in grams: 395 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 2 000 - 4 000 CHF

Lot 73 - A Luba-Shankadi Bowl bearing Figure, "mboko" - Shell carrier, "mboko" Luba-Shankadi, DR Congo Ohne Sockel / without base Wood. H 24 cm. Provenance: - Galerie Dartevelle, Pierre Dartevelle (1940-2022), Brussels, Belgium. - Sotheby's, London, 08.07.1974. Lot 104. - Eduardo Uhart, Paris. - Imelda and Paul Berger-Frei, Riehen. - Berger-Frei community of heirs, Basel. Published: Bastin, Marie-Louise (1984). Introduction aux Arts de l'Afrique Noire. Arnouville: Arts d'Afrique Noire. #374 ----------------------------------------------------- Described at Sotheby's (London, 08.07.1974. Lot 104) as follows: "A BALUBA WOOD FEMALE FIGURE, kneeling and holding a bowl on her lap, with cicatrization marks on her naked body, the coiffure is in four ridged layers and the face has a slightly open mouth and slit eyes, 92in. (24.8cm.), Congo." CHF 2 000 / 4 000 Weight in grams: 529 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 2 000 - 4 000 CHF

Lot 74 - A Luba Chief Staff, "kibango" - Dignity stick, "kibango" Luba, DR Congo Mit Sockel / with base Wood, copper, iron. H 147.5 cm. Provenance: - Stéphen-Charles Chauvet (1885-1950), Paris. - Galerie Jean Roudillon, Jean Roudillon (1923-2020). - 1975: Marcel Roux (1909-1993), Paris. - Heirs of Marcel Roux, French-speaking Switzerland. High-ranking dignitaries, e.g. regional princes, village chiefs or tribal elders - have a rich repertoire of visible symbols of office. These insignia often included elaborately carved staffs of office, which were often passed on as inheritance. The artistically crafted signs of descent, rank, religious affiliation, power and distinction accompany the owners as personal property and are presented publicly on the occasion of performances. In addition to their primary function, the staffs are used in many different ways and their symbolism is complex. Particularly valuable ones are often carefully decorated and sometimes crowned with figures. As extensions of the hand and arm, they are used, for example, as a support, as a protective instrument, for poking, prodding and pushing, for waving or generally to give signs. Furthermore, in ritual use on various occasions, they are also embodiments of the presence of the ancestors. In some places, a dignitary will also swear an oath on them when taking office. CHF 10 000 / 15 000 Weight in grams: 1439 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 10 000 - 15 000 CHF

Lot 75 - A Luba/Hemba Half-Figure - Half-figure Luba/Hemba, DR Congo Mit Sockel / with base Wood. H 24 cm. Provenance: - Galerie Maria Wyss, Basel. - Private collection in western Switzerland. Described by Zemanek-Münster (Würzburg, 19.09.2009, lot 371) as follows: "Fetish half figure - wood, black-brown, partly encrusted patina, head with tribal facial features and a depression with remains of magical mass, slightly dam., fine cracks, slight signs of abrasion, on wooden base; magical substances contained, for example, human bones or the hair of twins, each in powdered form. Only by adding such ingredients were the figures given magical power; the magic priest invited the spirits to inhabit the vessel and then assist him with their powers in certain tasks. € 2.800 - 4.200" ----------------------------------------------------- Protection and divination figurine that could influence events in the owner's favor by commissioning and using magical substances. The powers could be discharged through ritual ceremonies and meetings and harnessed for the owner. In return, the figure received numerous sacrifices and attentions in the form of food, oiling and ablutions. The figure is probably an idealized image of a remarkable ancestor who was respected for his social authority during his lifetime and whose influence continued to have a direct impact on society after his death. This materialized interface between this worldly and supernatural powers had a private character and was owned by a single person or household. For the ritual practitioner who created these magical figures and endowed them with their powers, an exact, finely crafted appearance was therefore less important than the figure's effectiveness. Further reading: Nooter Roberts, Mary / Roberts, Allan F. (1996). Memory, Luba Art and the Making of History. New York: The Museum for African Art. CHF 2 000 / 4 000 Weight in grams: 1126 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 2 000 - 4 000 CHF

Lot 76 - A Luba Drum, "ngoma" - Drum, "ngoma" Luba, DR Congo Ohne Sockel / without base Wood, leather, upholstery nails. H 34 cm. Provenance: - European private collection. - Woolley & Wallis, Salisbury, 11.02.2014, lot 481. - French-speaking Swiss private collection. Drum with surrounding geometric carved decoration, which was beaten during social and religious rituals by dignitaries and members of secret societies, also to indicate the rhythm during dance performances. Further reading: Meyer, Andres (1997). African drums. Berlin: Museum of Ethnology. CHF 1 000 / 2 000 Weight in grams: 3002 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other impairments and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 1 000 - 2 000 CHF

Lot 77 - A Sukuma Figure, "amaleba" - Articulated figure, "amaleba" Sukuma, Tanzania Mit Sockel / with base Wood, metal. H 211 cm. Provenance: - Peter H. Loebarth (1941-2015), Hamelin. - Walter and Molly Bareiss, Munich / New York. - Neumeister, Munich. 13.11.2008, lot 1274. - Swiss private collection, Basel. Published: - Jahn, J. / Kecskési, Maria / Félix, M. L. (1994). Tanzania. Masterpieces of African Sculpture. Munich: Fred Jahn. - Roy, Christopher D. / Haenlein, Carl (1997). Kilengi. African Art from the Bareiss Collection. An exhibition of the Kestner Gesellschaft in the Städtische Galerie im Lenbachhaus. - Roy, Christopher D. / Haenlein, Carl (1999). Kilengi: African Art from the Bareiss Family Collection. Washington: University of Washington Press. Exhibited: Exhibition: "Kilengi. African Art from the Bareiss Collection": - Hanover: Kestner Gesellschaft, 1997. - Vienna: Mak - Austrian Museum of Applied Arts, 1998. - Munich: Städtische Galerie im Lenbachhaus, 1998. - lowa City: The University of lowa Museum of Art, 1999. - Purchase: Neuberger Museum of Art, State University of New York, 2000. According to Hartwig (1969), these are dolls that were used in dance competitions. Thanks to their movable bodies, they could be staged in ever-changing and sometimes comical poses. This served to provide entertainment and surprise at the competitions, which sometimes lasted for days, and to increase the chances of winning. If a troupe succeeded in attracting the desired attention with the figure, it was used several times and became the troupe's mascot, so to speak. Roy / Haenlein (1997) point out that there is a stylistically very similar marionette in the Bareiss collection, which could be seen as the male counterpart to the figure depicted. Further reading: Jahn, J. / Kecskési, Maria / Félix, M. L. (1994). Tanzania. Masterpieces of African Sculpture. Munich: Fred Jahn. -------------------------------------------- ATTENTION: please contact us for shipping information. Due to the size and weight, costs might be considerable. ATTENTION: please contact us for shipping information. Due to the size and weight, costs might be considerable. CHF 8 000 / 12 000 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 8 000 - 12 000 CHF

Lot 78 - A Haya Figure - Articulated figure Haya, Tanzania Mit Sockel / with base Wood. H 112 cm. Provenance: - Walter and Molly Bareiss, Munich / New York. - Neumeister, Munich. 10.11.2005, lot 156. - Swiss private collection, Basel. Published: - Roy, Christopher D. / Haenlein, Carl (1997). Kilengi. African Art from the Bareiss Collection. An exhibition of the Kestner Gesellschaft in the Städtische Galerie im Lenbachhaus. - Roy, Christopher D. / Haenlein, Carl (1999). Kilengi: African Art from the Bareiss Family Collection. Washington: University of Washington Press. Exhibited: Exhibition: "Kilengi. African Art from the Bareiss Collection": - Hanover: Kestner Gesellschaft, 1997. - Vienna: Mak - Austrian Museum of Applied Arts, 1998. - Munich: Städtische Galerie im Lenbachhaus, 1998. - lowa City: The University of lowa Museum of Art, 1999. - Purchase: Neuberger Museum of Art, State University of New York, 2000. Christopher D. Roy describes this figure in 1997 in "Kilengi. African Art from the Bareiss Collection" as follows: "Female figure, HAYA, Tanzania, wood, height 112.5 cm The Haya live in the far north-west of Tanzania on the south-western shore of Lake Victoria. Their neighbors to the west are the Rwanda and to the south the Zinza (Gulliver1955, p.70, map). Their main staple food is the banana. Their capital is Bukoba on the western shore of Lake Victoria. Like their neighbors in the kingdoms of Ankole and Rwanda, the Haya can be divided into two main social groups according to their occupation. The bailu are farmers and form the bourgeois class, whereas the balangila are herders and comprise the royal families, a political elite. Their king was the omukama ("chief milker"), reflecting the importance of herding for the ruling class. (Carlson 1993, p.316) The omukama was a divine king: "The king's power lay largely in his ability to mediate convincingly between the normative and the transcendent commands. By mediating between the temporal sphere of living people and the timeless, transcendent sphere of the ancestors, the omukama gave vitality to the kingdom and ensured the productivity of cultivated fields, banana groves, livestock and women." (Carlson 1993, p.317) As with most inter-lake peoples in Tanzania and Uganda, music was an essential art form among the Haya, and dance was an important means of cultural expression. The omukama had a group of musicians, ama- kondere, who played horn trumpets, drums and stringed instruments. According to Carlson, a court jester, omushegu, was allowed to make jokes and blasphemies about the king. The jester woke the king every morning with a flute, the high notes of which he accompanied with grimaces. The sacred space that the king occupied was marked by carved wooden poles that symbolized the contrast between the king and the kingdom, the pure and the impure. (Carlson 1993, p.318) Wooden posts were used to mark out rooms for the members of the king's family, the fathers of his wives and for his bodyguard. An altar (ekikalo) stood opposite the entrance so that the ancestral spirits worshipped there could prevent any evil from entering the palace. Representations of women might be expected at the court of Haya, "where women dominated the center of the building, the hearth, a symbol of nurturing and fertility. In contrast, the men ruled over the peripheral areas of the building, both at the ancestral altar and in the courtyard area. The building illustrated the men's control of the women's creative powers. The king's symbolic control over the fertility of women and the annual crops they grew was an important aspect of Haya kingship." (Carlson 1993, p.320) This imposing figure is over a meter tall and has attached arms with joints at the shoulders so that her gesture could be altered or the figure could be clothed. It is tempting to imagine that this female figure is somehow It is tempting to imagine that this female figure was somehow used in connection with Haya kingship, perhaps as one of the markers that demarcated the royal household. The size, dramatic gesture and expressiveness of the face support the suggestion that the figure is a Haya version of the large dancing figures used by the Sukuma, who live not far to the east. It could also have served as a marker for the grave of a respected person. However, since the literature on Haya sculptures lacks any description of large female figures with articulated limbs, such statements are pure conjecture." ----------------------------------------------------- Described by Neumeister in 2005 as follows: "TANSANIA. Standing female figure presumably

Estim. 3 000 - 6 000 CHF

Lot 79 - A Makonde Body Mask, "njorowe" - Body mask, "njorowe" Makonde, Tanzania Mit Sockel / with base Wood. H 66 cm. Provenance: - Cornette de Saint Cyr, Paris, 30.06.1994, lot 74. - Swiss private collection, Basel. Described as a "Masque de Ventre Makonde" by Bernard Dulon, the expert at the Cornette de Saint Cyr auction in 1994 (see photos). According to popular belief, this body mask represents the belly of a beautiful pregnant woman and is worn by men at certain dances for fertility. The dancer, who tries to imitate the pregnant woman, is equipped with a fabric dress and a face mask, which is unfortunately missing here. The tatau goes back to the legend of the first man who carved a wooden figure in his solitude, which then came to life and became his wife. Further reading: M. Carlos Carvalho, Art Makonde tradition et modernité, Ministère de la Coopération et Développement, France, 1989. CHF 1 500 / 3 000 Weight in grams: 1'400 Condition: The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other impairments and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 1 500 - 3 000 CHF

Lot 80 - A Nguni-Zulu Ceremonial-Ladle - Ceremonial spoon Nguni (Zulu), South Africa Mit Sockel / with base Wood. H 40,5 cm. Provenance: - Kevin Conru, London. - Margaret Herz Demant (1926-2018), Detroit (Huntington Woods). - 2008: Galerie Walu, Jean David, Zurich. - 2009: Private collection in French-speaking Switzerland. Published: Certificate of the Walu Gallery (2009). CHF 12 000 / 16 000 Weight in grams: 357 Condition: Repatinated addition with material on the outer edge of the scoop. Repatinated addition with material on the outer edge of the scoop. -------------------------------- The condition (wear, eventual cracks, tear, other imperfections and the effects of aging etc. if applicable) of this lot is as visible on the multiple photos we have uploaded for your documentation. Please feel free to contact Hammer Auktionen for all questions you might have regarding this lot ([email protected]). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Hammer Auctions shall have no responsibility for any error or omission. In the rare event that the item did not conform to the lot description in the sale, Hammer Auktionen is here to help. Buyers may return the item for a full refund provided you notify Hammer Auktionen within 5 days of receiving the item. -------------------------------- The condition (possible wear, signs of use, cracks, possible other damage and signs of age, etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

Estim. 12 000 - 16 000 CHF