Tribal Art

African magic-religious objects.
Consecrated by the priest nganga, this type of African clan sculpture has a magical charge lodged in the glass-sealed ventral cavity. The statue also carries, on the back, a kind of swaddled bundle.
The charge or bilongo consisted of various ingredients from the natural environment including red clay, red wood powder tukula , white clay pembe... , but possibly human fragments such as teeth, nails, hair. The arms are truncated. This fetish of conjuration was thus supposed to influence the health, prosperity, enemies of its holder. The headdress is characteristic of the statuary of Beembe and Yombe, other tribes of the Kongo group. Among the Kongo, the specialist named nganga ,was in charge of rituals by activating a ...

African Statuette Dogon collected in the mid-20th century by Monsieur Arnaud, accompanying Alain Bilot, renowned collector of Dogon art during study trips to Mali.

This sculpture depicts a woman in a raised arms posture. A grainy patina is evidence of the libations administered. One hand is missing. Desiccation cracks.
Carved for the most part on commission by a family and in this case placed on the family altar Tire Kabou, the Dogon tribal statues can also be the object of worship by the entire community when they commemorate, for example, the founding of the village. These statues, sometimes embodying the ...

Wearing a crest in the shape of a bird, this majestically arched female figure rests with thick forearms on a small pelvis. Slender arms release the tension of the bust on which a firm chest points. The base - pestle, "sedine" or "dol" depending on the dialect, extends the legs. Medium brown satin patina, minor abrasions and drying cracks.
The Senoufos, so named by the French settlers, are mainly made up of farmers who have dispersed between Mali, Ivory Coast, and Burkina Faso. Councils of elders, headed by an elected chief, administer the Senufo villages. Each of them has its own Poro association introducing young boys from the age of 7 in a succession of three cycles lasting seven years. The Debele Senoufo, or "child of the Poro", "spirit of the bush", intervened in pairs at the ...

The clearly contrasting proportions of this Dogon sculpture are striking here, highlighting the supernatural nature of the subject.
Old restoration of an arm. Matte patina speckled golden brown. Minor desiccation cracks.
In Dogon mythology, one of the Nommos, ancestors of men resurrected by the creator god Amma, descended to earth carried by an ark transformed into a horse. In addition, the highest authority of the Dogon people, the religious leader named Hogon, paraded on his mount during his enthronement because according to custom he should not set foot on the ground. In the region of the Sangha cliffs, inaccessible on horseback, the priests wore it, while neighing in reference to the mythical ancestor Nommo. The rider and his horse are a theme frequently treated among ...

Embodying the founder of a lineage, this wooden sculpture of the Mahongwe, from the extreme north-east of Gabon, on the Congo border, is lined with metal threads. The concave ogival face surmounted by an excrescence would symbolize for some the serpent naja. The pattern on the back recalls the hairstyle of certain dignitaries.
The baskets containing the relics of illustrious ancestors, generally surmounted by two reliquaries, were kept in temples in the village. One of them embodied the founder of the lineage, and the second his descendants. The worship of ancestors, the bwete (Northern Kota) was at the heart of the social and religious life of the Kota and presents many analogies with that of the Fang . In the exclusive presence of initiates, the major decisions of the clan ...

The tribal art of the Byeri cult is illustrated by various anthropomorphic sculptures acting as "guardians" and embodying the ancestor. This sculpted figure, intended to be introduced into a reliquary basket by the peduncle, has a prognathic jawbone in which a pout emerges. The amplitude of the pelvis and thighs contrasts with the rest of the morphology. Fanned fingers are joined in front of the torso. Extended in the nape of a ponytail, voluminous shells complete the metallic ornaments. Black oiled patina, semi-matte.
The boxes containing the relics of illustrious ancestors were guarded by the oldest man in the village, the "esa". Surmounted by a statue or a head that acted as guardian of the "byeri" boxes, they were supposed to deflect evil influences. They were also used ...

This Dogon statue, narrow, with stretched limbs, represents a kneeling woman. Repeated ritual libations have given the surface a grainy appearance. The desiccated, cracked wood bears the marks of time. Carved for the most part on commission by a family and in this case arranged on the family altar Tiré Kabou, the Dogon tribal statues can also be the object of worship by the entire community when they commemorate, for example, the founding of the village. These statues, sometimes embodying the nyama of the deceased, are placed on ancestor altars and participate in various rituals including those of the seed and harvest periods. Their functions, however, remain little known. In parallel with Islam, Dogon religious rites are organized around four main cults: the Lebe , relating to ...

Lobi sculptures and African art.
Naturalist carved figurine with a protective purpose, polished by use.
These statuettes were placed on the altar after a ritual to be the receptacle of a bush spirit, the Thil, and thus become an active being, an intermediary fighting against wizards and all other harmful forces. When honored, these spirits would manifest their benevolence in the form of abundant rains, good health, and numerous births; ignored, they would withdraw it and bring devastating epidemics, drought, and suffering.
They are supposed to transmit to the diviners the laws that the followers must follow in order to enjoy their protection.
They are represented by wooden or copper sculptures called Bateba (large or small, figurative or abstract, they adopt ...

The Mangbetu statues probably represent ancestors of the clan. They display incisions in connection with the body paintings and the scarifications of the group, comparable to those of the Asua pygmies with whom the tribe maintained relations. These reasons varied according to the circumstances. The fan hairstyle was worn by the Mangbetu: from an early age, children suffered compression of the cranial box by means of raffia ties. Later, the Mangbetu would "knit" their hair on wicker strands and apply a headband to the forehead in order to extract the hair and produce that particular headdress which accentuates the elongation of the head. The ancients call these figures of ancestors stored out of sight and comparable to those belonging to their secret society nebeli beli.
Shiny dark ...

Sometimes called a "settler", this African statuette forms the incarnation of a spiritual husband, sculpted according to the indications of the diviner. In "African art, Western eyes" Susan Vogel reports that a figure of this type (p.255), idealized spouse, is represented dressed in a city outfit because the spouse is supposed to have a job in city. The earthly spouse, through the cult rendered to this spiritual double, expects to have his resources, his favors and his protection unfailingly. About sixty ethnic groups populate Côte d'Ivoire, including the Baoulé, in the center, Akans from Ghana, people of the savannah, practicing hunting and agriculture just like the Gouro from whom they borrowed the cults and masks.
Irregular polychrome patina, abrasions. Desication cracks ...

Schematized anthropomorphic figure, whose structure is highlighted by alternating colored planes. The face with geometric features is topped with a unique linen beret. Velvety, abraded surface, slight desication cracks.
The Mitsogho ethnic group, Sogho, is established in a forest region on the right bank of the Ngoumé River, Ngounié, near the Kwele. Bwiti society, which has a system of reliquaries comparable to that of the Fang and the Kota, formed the cohesion of the Mitsogho matrilineal clans. Their masks were exhibited at funerals, and stored in the ebanza male initiation house. Like the other ethnic groups of Gabon, they practice the rites of the Bwiti which would have spread in this way among the coastal peoples. Their sculptural production is varied, in the form of statues, ...

Helm mask surmounted by a figure of a dancer wearing a mangam zoomorphic mask symbolizing the buffalo. The ceremonial mangam masks of the "Mama", who make up within the same region a group of different origins and languages, are used by the members of a men's association responsible for maintaining the social order and to increase or promote agricultural production. Two-tone crusty patina. Desication cracks.
This mask whose horns symbolize fertility is danced during festivals in relation to agricultural fertility and sometimes human fertility.
The Mama buffalo masks are kept in the sacred wood and are brought back to the village to accompany the deceased into the world of the beyond or to participate in the enthronement of a chief.

Figure "Esu, Eshu", or "Ogo Elegba", divine messenger of the Yoruba pantheon, intermediary between humans and the God Olodumare, supposed to grant benefits and punishments, and guaranteeing the balance of creation through offerings, sacrifices and libations administered to him. He is Legba in Fon voodoo. The characteristic hairstyle symbolizes fertility and energy. These carved figures reflect the iconography of tribal art Yoruba. Locally chipped burgundy/green patina. Erosions, damaged base.
The Yoruba, more than 20 million, occupy southwestern Nigeria and the central and southeastern region of Benin under the name of Nago. The kingdoms of Oyo and Ijebu arose following the disappearance of the Ifé civilization and are still the basis of the political structure of the Yoruba . ...

This African statuette generally called "colon" , forms, for the Baoulé, an idealized, individual image of the celestial spouse. Its features were carved on the indications of the diviner for his client in an attempt to remedy various problems.

Abraded polychrome patina. Desication crack.
Two types of statues are produced by the baoulé in the ritual context: TheWaka-Sona statues, "being of wood" in Baoulé, evoke a assié oussou, being of the earth. They are one of a type of statues intended to be used as medium tools by Komien soothsayers, the latter being selected by the asye usu spirits in order to communicate revelations from beyond. The second type of statues, made according to the indications of the diviner, are the spouses of the beyond, masculine, the ...

This is a desecrated two-headed dog sculpture, the center of which carried a "bishimba" magic charge. The Kongo use this type of nkisi object to try to resolve a difficulty and to intimidate or repel the person who is causing it. Among the Kongo, the dog, renowned for its knowledge of the supernatural world, its flair and its vision, had the role of mediator between the living and the dead. The Vili, the Lâri, the Sûndi, the Woyo, the Bembe, the Bwende, the Yombé and the Kôngo formed the Kôngo group, led by King Ntotela. Their kingdom reached its peak in the 16th century with the trade in ivory, copper and the slave trade. With the same beliefs and traditions, they produced a statuary endowed with a codified gesture in relation to their vision of the world. Desication cracks, brown ...

Established in a posture highlighting the twins perched on each of her knees, this altar figure is wearing braids and a top bun. Its lower limbs seem to merge with the feet of the circular seat. Dense crusty patina. Desication cracks.
Carved for the most part on order placed by a family, the Dogon statues can also be the object of worship on the part of the whole community. However, their functions remain little known. Alongside Islam, Dogon religious rites are organized around four main cults: the Lébé, relating to fertility, under the spiritual authority of the Hogon, the Wagem, ancestor worship under the authority of the patriarch, the Binou invoking the spirit world and led by the priest of the Binou, and the society of masks concerning the funeral.

The vigorous size of this mumuye figure gave rise to a powerful anatomy of dynamic aspect. The sagittal crest, framed by thick distended lobes, composes like a helmet around summarily traced features, concentrated under the hairstyle. Velvety matte patina, lacks.
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The statuary emanating from the northwestern region of the middle Benoué, from the Kona Jukun, to the Mumuye and up to the Wurkun populations is distinguished by a relative absence of ornamentation and a refined stylization. The 100,000 speakers of the Adamawa language form a group called Mumuye and are grouped into villages, dola, divided into two groups: those of fire (tjokwa) relating to blood and the color red, guardians of the Vabong cult, among whom are elected the rulers, and those of the ...

This statuette generally called "colon" forms, for the Baule, an idealized, individual image of the celestial spouse. Its characteristics were sculpted on the indications of the diviner for his client in an attempt to remedy various problems.

Polychrome, matte, abraded patina.
Two types of statues are produced by the Baule in the ritual context: The Waka-Sona statues, "being of wood" in Baule, evoke an assié oussou, being of the earth. They are part of a type of statues intended to be used as a medium tool by the diviners komien, the latter being selected by the spirits asye usu in order to communicate revelations from the beyond. The second type of statues, made according to the indications of the diviner, are the spouses of the afterlife, male, the Blolo ...

Ex-collection French African tribal art.
This sculpture depicting a woman whose pose, hands on her chest, would evoke fertility, is also associated with royal secrets. This attitude indicates that the secrets of royalty, bizila , belong to women through their role as political and spiritual intermediaries. She is pictured wearing a prolonged tiara of a sophisticated hairstyle of braids and copper threads behind a forehead largely cleared by the traditional shaving. The so-called Scarifications u-0022en epi", "tactile mnemonic code", cover the abdomen and lower abdomen, highlighting volumes and protruding umbilical. The speckled patina is velvety. The heavily altered base was attached to a wooden base.
The Luba (Baluba in Chiluba) are a people of Central Africa. Their cradle ...

African statue of "little favourite", Nyeleni in Bambara, represented frontally, with traditional scarified motifs. She displays the classic criteria associated with fertility, oblong breasts and a prominent abdomen. Gray brown matte patina. Slight erosions.
The Bambara of central and southern Mali belong to the large Mande group, like the Soninke and the Malinke. They believe in the existence of a creator god generically called Ngala who maintains order in the universe. Large masked parties close the initiation rites of the dyo association and the gwan ritual of the Bambara in the south of the Bambara country. Spread over a period of seven years for men, they are less demanding for women. The new initiates then celebrate, in groups, from village to village, their symbolic ...

African puppet figure with articulated arms thanks to long nails. This statue offers a thick, goitrous neck, carrying a spherical head which seems topped with a cap. The sagging breasts, of low relief, are inscribed on the bust. The powerful legs, devoid of feet, are wide apart. A partially chipped kaolin film covers some areas. Numerous erosions.
Peoples with varied traditions have settled in the savannah north of the Niger and Benué rivers. The Tiv from Cameroon are made up of farmers living on the banks of the left bank of the Benué. Their statues are of two types: of a naturalistic type, these figures take the form of female representations, some of which formed the top of the posts of reception huts. The second, called ihambé , associated with fertility, represent ...