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The masks represent the spirits of the forest and are used during initiation ceremonies and or at the end of a mourning period to promote tranquility and well-being within the community.
Kwele masks act as intermediaries between the world of the bush and that of the village.
— Nigeria 20th Century A collection of 7 (seven) Yoruba bronze (brass alloy) ring pendants cast in the lost-wax technique. — Ghana, Africa Mid-20th Century A large funerary vessel from the Akan tribes of Ghana.
Just under 9" tall x 4" across 5 — Cote d'Ivoire - Ivory Coast 20th Century A fine collection of eleven brass-bronze pendant masks from the Baule people of the Ivory Coast. The legs dangle and arms rest on knees and appear inverted.
Gelede masks, such as this one, were worn by male Yoruba dancers at festivals honoring the women of the community, both living and dead. 15" tall on stand 00 — Gabon Mid-20th Century A fine older Kwele mask from Gabon of western coastal Africa.
All are in nice condition and display well on the custom metal stand, included. The figures were shown to youths during their initiation into the association to illustrate the consequence of immoral conduct and also to instill in them respect for the authority vested in elders and leaders. As is typical of Gelede masks of this period, the forehead is prominent along with stong, almost exaggerated features.A few vertical age cracks that occur naturally over time. Bells were used as tools of communication, as portable instruments for conveying important messages, and as a form of currency. The Mbole are known principally for their hanged figures known as "Ofika", which tend to be characterized by their geometric features, elongated emaciated bodies, enlarged heads with heart-shaped faces and crown-like coiffures. The lid is a dome-shaped platform supporting the serpent and figure. Restoration to the rim of the lid and head of the figure. Both pieces have edge chipping, scrapes and surface wear consistent with age. These are likley hunters' flutes as indicated by the pointed tip which is shaped like an arrow head. This is a lid that would have originally covered a bronze vessel or bowl, now missing. 5 — Ghana 20th Century A collection of 9 (nine) Ashanti - Akan brass-bronze alloy pendants cast in the lost-wax technique. Solid terracotta construction with elongated neck and stylized facial features as is typical.This gallery will be regularly updated so check back often. 9.5" tall x 11" across 0 — Ghana Mid 20th Century A vintage Ashanti - Akan cast bronze (brass - copper alloy) figural scene from Southern Ghana. Sword #1 (left) A nice Luba short sword with janus heads, dating to the late 19th - early 20th Century. The blade has a rusted surface with light edge wear and a few chips missing on the handle, otherwise intact. Each is in fine condition with aged patina and signs of heavy tribal use. It depicts a chief or tribal leader sitting on his throne surrounded by two attendants. Great for jewelry as necklaces or on charm bracelets. Broken at the bottom of the neck which would have orininally had a flared base.Please ask if you would like additional photos or more in-depth descriptions. All items being offered on this website have appropriate provenance and are legal to buy and own under the United States statute covering cultural patrimony Code 2600, Chapter 14. 5 — Ivory Coast Late 19th - Early 20th Century An old and exceptional Baule - Akan standing female figure from Africa's Cote d'Ivoire (Ivory Coast), dating to the early Colonial Period. 10.25" tall x 3" across 0 — Cameroon Early to Mid 20th Century A nice, older cache sexe (modesty apron) from the Kirdi people of Cameroon, Africa. This highly detailed sculpture is most certainly a large gold weight. The faces are well carved and it is in very good condition. - Sword #2 (center) A Salampasu short sword dating to the early 20th Century. An exceptional set that displays nicely on the custom metal stand with is included as shown. The chief holds a knife (dagger) as a sign of status and power. In good condition although the front has been scorched and shows dark (burned) areas on the surface.
The blade has a rusted surface and has a large chip missing from the handle, but it is otherwise complete and shows a nice aged patina. The blade is engraved (impressed) with concentric circular dots on both sides. Considerable oxidation and deposits as would be expected on a bronze piece from this period. Since hair and nails grow throughout our lives, these personal offerings empower the deceased to continue to 'grow and live' in the afterlife. The three were most certainly from the same tribal group and all made by the same carver.