The second of two posts highlighting some of the gorgeous rare African art for sale on 11 May at Sotheby's in New York, including some masterpieces of several cultural groups, including a Dan container (Lot 113) and a Senufo Bird (Lot 196) from Cote D'Ivoire and a Mumuye figure (Lot 122) from Nigeria (see this 2011 post for other, similar examples of Mumuye art), as well as incredible pieces from Gabon (Lots 129 & 132) and stately Bamana (Lot 193) and Dogon (Lot 126) pieces from Mali.
Also below are some beautiful gems from less-commonly seen art traditions, including the grasslands of Cameroon (Lot 121), an amazing Zulu head-rest (Lot 178), and an elephant ivory scepter from DR Congo (Lot 194)--all three mesmerizing as abstract forms as much as fine cultural craft objects.
The full online catalog of this auction is available at Sotheby's website. As can be seen below, several of these amazing works did not sell at all, while a few others blew pasts their estimates.
LOT 113 DAN RITUAL CONTAINER IN SHAPE OF A RAM, IVORY COAST
ESTIMATE US$40,000-60,000 USD Lot Sold: US$68,500
CATALOGUE NOTE
Little is known about the function of these containers. Both containers have a worn surface on top. For the Ghent example the hypothesis has been suggested that it might have served as stool or neckrest. In general, both works seem too large for neckrests. While their sizes and general shape would not be uncommon for stools (cf. one previously in the Renee and Chaim Gross Foundation, Sotheby's New York, May 15, 2009, lot 42), they seem too refined for an object of daily use. Instead, it is conceivable to locate their function in a ritual context. This hypothesis is further supported by traces of palm oil on the offered lot's surface.
ESTIMATE US$5,000-7,000
LOT 119 WE (NGERE) MASK, GERE SUBGROUP, IVORY COAST
ESTIMATE US$40,000-60,000 Lot Sold: US$59,375
CATALOGUE NOTE
The present mask, illustrated alongside the essay on Dada and Surrealism on the occasion of William Rubin's 1984
monograph "Primitivism" in 20th Century Art: Affinities of the Tribal and the Modern, is a conceptual masterpiece of
Guere art. In her recent study on We and Guere masks, Marie-Noël Verger-Fèvre (2005: 111) identifies it as either
war (te'e gla) or wisdom (gla kla'a) mask. According to this study (loc. cit.: 107-108), the war mask "belongs to the
category of great masks by virtue of its age and of its importance in the lineage to which it belongs. This mask once
played a prominent role in We lineages because it intervened in matters of tribal warfare, which was widespread
before the arrival of European colonials. [...] The great mask of wisdom, gla kla'a, appears in public on rare and
solemn occasions. It is present at commemorative ceremonies and the funerary rites of important individuals and high
Gla dignitaries. It also appears once every decade or so, apparently for the singular purpose of exhibiting it. Whenever
it appears, the full procession of masks takes place before it." 
LOT 120 NUNUMA CROCODILE MASK, BURKINA FASO
ESTIMATE US$20,000-30,000
PROPERTY FROM THE COLLECTION OF ERIC EDWARDS, NEW YORK
ESTIMATE US$7,000-10,000 Lot Sold: US$7,500
ESTIMATE US$7,000-10,000 Lot Sold: US$7,500
LOT 122 MUMUYE ANCESTOR FIGURE, NIGERIA
ESTIMATE US$40,000-60,000 Lot Sold: US$110,500
ESTIMATE US$40,000-60,000 Lot Sold: US$110,500
CATALOGUE NOTE
Mumuye figures represent the human form with strikingly abstract elongated shapes, ingeniously playing upon positive
and negative space with openwork subtraction from a columnar whole. Kerchache (1988: 546) notes: "[Mumuye]
statuary does not depict ancestors but rather incarnates tutelary spirits. Yet, statues reinforce the status and prestige
of their owner who, as he holds them in his hands, has a dialogue with them and thus ensures his personal
protection."
For a closely related figure see Leuzinger (1985: pl. 72b).
For a closely related figure see Leuzinger (1985: pl. 72b).
LOT 128 YORUBA-OWO IVORY ORNAMENT, NIGERIA
Made of African Elephant (Loxodonta africana) ivory, with Coconut shell inlay.
ESTIMATE US$100,000-150,000 Lot Sold: US$254,500
Made of African Elephant (Loxodonta africana) ivory, with Coconut shell inlay.
ESTIMATE US$100,000-150,000 Lot Sold: US$254,500
CATALOGUE NOTE
In his discussion of the offered lot on the occasion of the exhibition Africa, The Art of a Continent at the Guggenheim Museum in New York, Ekpo Eyo (in Phillips 1995: 138) noted: "Among the Owo-Yoruba, a red costume (orufaran) is worn by the highest ranking chiefs as a priviledge granted by the king (olowo). [...] It consists of a top shirt made of imported red flannel that is scalloped to resemble the scales of an anteater or pangolin. Like the scales of a pangolin, the costume protects its wearer from harm by rendering him invulnerable. Sewn onto the scalloped shirt are a series of carved ivory ornaments (omama) depicting powerful animals such as the ram, crocodile, leopard, or horse. [...] The ram omama shown here, one of a pair (the other is in the Metropolitan Museum of Art in New York [inv. no. "1991.17.123"]), probably came from the orufaran of the chief (ojomo) of Ijebu quarter, originally located on the outskirts of Owo town proper. [...] If he inherited the costume from the first ojomo, Oladipe, then it can be dated to the last quarter of the eighteenth century. The pair of omama were very likely made by the same carver."
Drewal (in Ross 1992, p. 199) continues: "Together with the elephant, the ram is the most important totem among the Yoruba. It is a sign of the preeminent power and aggressiveness of one who tolerates no rival."
In his discussion of the offered lot on the occasion of the exhibition Africa, The Art of a Continent at the Guggenheim Museum in New York, Ekpo Eyo (in Phillips 1995: 138) noted: "Among the Owo-Yoruba, a red costume (orufaran) is worn by the highest ranking chiefs as a priviledge granted by the king (olowo). [...] It consists of a top shirt made of imported red flannel that is scalloped to resemble the scales of an anteater or pangolin. Like the scales of a pangolin, the costume protects its wearer from harm by rendering him invulnerable. Sewn onto the scalloped shirt are a series of carved ivory ornaments (omama) depicting powerful animals such as the ram, crocodile, leopard, or horse. [...] The ram omama shown here, one of a pair (the other is in the Metropolitan Museum of Art in New York [inv. no. "1991.17.123"]), probably came from the orufaran of the chief (ojomo) of Ijebu quarter, originally located on the outskirts of Owo town proper. [...] If he inherited the costume from the first ojomo, Oladipe, then it can be dated to the last quarter of the eighteenth century. The pair of omama were very likely made by the same carver."
Drewal (in Ross 1992, p. 199) continues: "Together with the elephant, the ram is the most important totem among the Yoruba. It is a sign of the preeminent power and aggressiveness of one who tolerates no rival."
LOT 129 FANG ARMLET MASK, GABON
FROM THE COLLECTION OF CECILLE & MICHAEL PULITZER, SANTA BARBARA
ESTIMATE US$7,000-10,000
LOT 132 MAHONGWE RELIQUARY FIGURE, GABON
ESTIMATE US$30,000-50,000 Lot Sold: 62,500
ESTIMATE US$150,000-250,000
CATALOGUE NOTE
Museum, London (Trowell and Nevermann 1968: 70); a third in the Musée Dapper, Paris (collected by Aristide
Courtois before 1938, Falgayrettes-Leveau 1995: 61); a fourth in the Kulturen Museum, Lund (inv. no. "51.467.113");
and a fifth in the Etnografiscka Museum, Gothenburg (Leuzinger 1970: 241, pl. Q 9).
Kwele antelope are exceedingly rare. Several related masks are recorded in important museum collections: one in the
Musée Barbier-Mueller, Geneva (inv. no. "1019-49", Schmalenbach 1988: 210, cat. 127); a second in the in the British
Hahner-Herzog (1998: text to cat. 69) notes: "The rare masks of the Kwele, a little-investigated ethnic group of northeast Gabon and the adjacent area of the Republic of Congo, are associated with the Bwete association, which maintains social order. The masks are also used in initiation rites and at the end of periods of mourning. Representing benevolent forest spirits, they have zoomorphic or anthropomorphic traits, or a combination of the two. The faces are usually painted in white kaolin earth, a pigment associated by the Kwele with light and clarity, the two essential factors in the fight against evil."
Discussing the aforementioned Barbier-Mueller mask, she continues: "The rare Kwele masks with vertically projecting
horns exhibit a range of stylistic differences. Some examples, such as the one illustrated here and those in Göteborg
and London depict antelopes."Hahner-Herzog (1998: text to cat. 69) notes: "The rare masks of the Kwele, a little-investigated ethnic group of northeast Gabon and the adjacent area of the Republic of Congo, are associated with the Bwete association, which maintains social order. The masks are also used in initiation rites and at the end of periods of mourning. Representing benevolent forest spirits, they have zoomorphic or anthropomorphic traits, or a combination of the two. The faces are usually painted in white kaolin earth, a pigment associated by the Kwele with light and clarity, the two essential factors in the fight against evil."
LOT 136 DOGON RITUAL OBJECT, MALI
MINIATURE SCULPTURE FROM THE COLLECTION OF MARTIN AND ROBERTA LERNER
ESTIMATE US$8,000-12,000
CATALOGUE NOTE
This fine figural-architectural sculpture features a seated figure above a tall flat form, with geometric
openwork, resembling the hilt of a knife. Several related works are known: see one in the Seattle Art Museum (inv. no. "67.53"); and another offered at Sotheby's Paris, December 5, 2003, lot 112. All share in common small pieces of metal which preclude the presence of a blade where it would be expected, and indeed seem too thin and broad to be handles. These metal pieces were seemingly for the addition of an unknown attachment though none with any such attachment is known. Although the specific use of this enigmatic object remains a mystery, the layered patina attests to its function within sacred ceremonies, as the refined quality of the sculpture does to its ritual importance.
openwork, resembling the hilt of a knife. Several related works are known: see one in the Seattle Art Museum (inv. no. "67.53"); and another offered at Sotheby's Paris, December 5, 2003, lot 112. All share in common small pieces of metal which preclude the presence of a blade where it would be expected, and indeed seem too thin and broad to be handles. These metal pieces were seemingly for the addition of an unknown attachment though none with any such attachment is known. Although the specific use of this enigmatic object remains a mystery, the layered patina attests to its function within sacred ceremonies, as the refined quality of the sculpture does to its ritual importance.
ESTIMATE US$8,000-12,000 Lot Sold: US$8,125
LOT 178 ZULU NECKREST, SOUTH AFRICA
ESTIMATE US$6,000-9,000
ESTIMATE US$6,000-9,000
ESTIMATE US$40,000-60,000 Lot Sold: US$50,000
CATALOGUE NOTE
Discussing a related mask in the Musée Barbier-Mueller, Geneva, Hahner-Herzog (1998: text to cat. 96) notes: "This mask represents a type of mask which, according to the Bembe, goes back to the Bahonga, a hunting and gathering people whose collecting of honey is said to have been done under the tutelage of this mask. With the Bembe it is called ibulu lya alunga or echwaboga, represents a bush spirit (m'ma mwitu), and belongs to the accessories of the hierarchically ordered Alunga men's association. The mask is used during acceptance ceremonies for new, usually young members, as well as in hunting rites. For public appearances the carved helmet is decorated with an elaborate headdress of feathers and porcupine (ehala) quills, and a neck fringe of fibers. The dancer is clad in a multilayered fiber costume (asamba). These impressive Alunga masks are invariably conceived in the form of cylindrical helmets with two, as it were, Janus faces, whose black rhombic or cross-shaped eyes with protruding pupils are set in large oval hollows painted white. Due to these striking facial features the masks have been interpreted as representing owls, with which the masqueraders in fact occasionally identify. In addition, the two faces are intended to invoke the all-seeing nature of the mask spirit, a capacity which enables him to reconcile the opposing forces of nature, such as male/female or day/night."
Discussing a related mask in the Musée Barbier-Mueller, Geneva, Hahner-Herzog (1998: text to cat. 96) notes: "This mask represents a type of mask which, according to the Bembe, goes back to the Bahonga, a hunting and gathering people whose collecting of honey is said to have been done under the tutelage of this mask. With the Bembe it is called ibulu lya alunga or echwaboga, represents a bush spirit (m'ma mwitu), and belongs to the accessories of the hierarchically ordered Alunga men's association. The mask is used during acceptance ceremonies for new, usually young members, as well as in hunting rites. For public appearances the carved helmet is decorated with an elaborate headdress of feathers and porcupine (ehala) quills, and a neck fringe of fibers. The dancer is clad in a multilayered fiber costume (asamba). These impressive Alunga masks are invariably conceived in the form of cylindrical helmets with two, as it were, Janus faces, whose black rhombic or cross-shaped eyes with protruding pupils are set in large oval hollows painted white. Due to these striking facial features the masks have been interpreted as representing owls, with which the masqueraders in fact occasionally identify. In addition, the two faces are intended to invoke the all-seeing nature of the mask spirit, a capacity which enables him to reconcile the opposing forces of nature, such as male/female or day/night."
PROPERTY FROM THE COLLECTION OF ZAFRIRA AND ITZHAK SHOHER, TEL AVIV
ESTIMATE US$25,000-35,000 Lot Sold: US$26,875
(1995: 60). Another closely related mask, also previously owned by the Carlebachs, is in the Menil Collection in
Houston (inv. no. "X 0039"). Describing that example, Malé (in Van Dyke 2008: 62) notes: "In the context of initiation,
its role is evoked by the phrase ba kara misi; according to Youssouf Tata Cissé, quoted in Tal Tamari (2001: 101-
102), 'this designation is composed of ba (mother, basis) and kara (perfect circle, creation spirit, divine spirit); one
could translate this expression as foundational circles symbolizing the divine spirit [...]. Accordingly, the various
elements of the misikun mask seek this formal perfection."
ESTIMATE US$25,000-35,000 Lot Sold: US$26,875
CATALOGUE NOTE
For a closely related domed, horned, faceted helmet mask in the Musée Dapper, Paris, see Falgayrettes-Leveau
He continues: "The misikun mask is attached to a wearable marionette in an ensemble worn by two performers. [...]
When it appears on the scene, the misiba [cow] walks around the area with a serene, graceful gait, and then stops in
the middle of the village. During this promenade the shepherd raises and lowers the stick like a rider encouraging his
steed. When the marionette stops moving, the young women intone the popular song "Misiba", composed in honor of
generous men. The misiba symbolizes generosity among the Bamana and Maninka. [...] The performance teaches
the duty of protecting those who are generous. Whereas the mask represents simply a bovid, the marionette evokes
a more specific contribution of ploughing cattle to the local agriculture production; through other songs, tribute is paid
to their labor." 
African Elephant (Loxodonta africana) ivory.
PROPERTY FROM THE COLLECTION OF ZAFRIRA AND ITZHAK SHOHER, TEL AVIV
ESTIMATE US$6,000-9,000
PROPERTY FROM THE COLLECTION OF ZAFRIRA AND ITZHAK SHOHER, TEL AVIV
ESTIMATE US$6,000-9,000
PROPERTY FROM THE COLLECTION OF ZAFRIRA AND ITZHAK SHOHER, TEL AVIV
ESTIMATE US$70,000-100,000 Lot Sold: US$86,500
Koulotiolo, creator of the world, a distant and inaccessible diety. On the other hand, the mother of the village,
Katieleo, regenerates the world and redeems humankind through the initiation rites of the poro. [...] A male villager
who has not been initiated will be excluded from the village and will lose his rights as a citizen."
The morphology of these rare statues references both male and female characteristics, with the swollen, pregnant belly, and the elongated phallic beak. A related figure is in the Metropolitan Museum of Art, New York (inv. no. "1978.412.382").
ESTIMATE US$70,000-100,000 Lot Sold: US$86,500
CATALOGUE NOTE
According to Kerchache (1988: 512) for the Senufo, the poro association "[...] is the pillar of communal life.
Responsible for the initiation and training of the young boys, it is aimed at shaping an accomplished, social man who
is integrated into the collective; it aids his entry into public responsibilities. [...] The Senufo believe in a god,
Garrard (in Phillips 1996: 457) notes: "In former times many of the men's secret Poro societies in the Senufo region
owned a large standing sculpture of a bird. This statue, kept in the sacred forest, was used in the rites for the
admission of initiates to the final phase of training. It generally had a hollowed base, which permitted it to be carried
on the head of an initiate. Some examples also have holes in the wings, through which cords were passed to steady
the bird when carried. [...] Older Senufo [...] usually name it as sejen or fijen [...] a term that simply means 'the bird'.
The significance of this bird is indicated more clearly by two other names. It is sometimes called kasingele, 'the first
ancestor', which may refer either to the mythological founder of the human race or to the ancestral founder of the
sacred forest. Alternatively, it is named poropia nong, which means literally 'mother of the Poro child'. The statue is
thus a primary symbol of the Poro leadership, indicating the authority of its elders."The morphology of these rare statues references both male and female characteristics, with the swollen, pregnant belly, and the elongated phallic beak. A related figure is in the Metropolitan Museum of Art, New York (inv. no. "1978.412.382").
PROPERTY FROM THE COLLECTION OF ZAFRIRA AND ITZHAK SHOHER, TEL AVIV
ESTIMATE US$25,000-35,000
ESTIMATE US$25,000-35,000
PROPERTY FROM THE COLLECTION OF ZAFRIRA AND ITZHAK SHOHER, TEL AVIV
ESTIMATE US$10,000-15,000 Lot Sold: US$25,000
ESTIMATE US$10,000-15,000 Lot Sold: US$25,000
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