African_Arts : Messages : 3108-3137 of 6314

http://www.sothebys.com/app/paddleReg/paddlereg.do?dispatch=eventDetails&event_id=28794

Hi group -

I've been away from the group for a long time because I've needed to focus my time and energy on other things but I'm looking forward to becoming more active again now that things have finally started to settle down for me now.

I was happy to see that we're now at 500+ members in the group since it was launched in March of 2005!

May is an especially busy month in New York City in the Tribal art market...

In addition to the Bonhams & Butterfields auction that Lee posted a message about that is taking place on May 15th, Sotheby's is holding their spring auction on May 16th and the New York Tribal and Textile Arts Show opens on May 15th with a preview gala on the 14th.

The catalog for the Sotheby's spring auction on May 16th is now available online:

Of special interest to me were the group of African objects being offered from the Bareiss Family Collection (31 in total), especially the East African objects being offered from the collection. The collection was published in the book "Kilenjgi: African Art from the Bareiss Family Collection". Overall I thought the auction had a lot of nice examples of various types of objects and they've done a nice job with the descriptions on a lot of objects.

Featured in the auction is a 'Magnificent and Highly Important Baga Serpent" (lot 58, estimate $1.5 - 2 million USD) that was collected in situ by art dealers H�l�ne & Henri Kamer in 1957. (H�l�ne Kamer later married Philippe Leloup and is more widely recognized by the name H�l�ne Leloup with galleries in Paris and NYC). It stated in the auction listing that several of the other Baga serpents the Kamer's collected during this trip are now in the collections of the Louvre, the Metropolitan Museum of Art and the Menil Foundation in Houston.

This particular object was sold in 1961 to art dealer Pierre Matisse (son of Henri Matisse) and exhibited in his gallery in NYC. It is credited as being an inspirational object to artists of the 60's.

It states in the press release - "Here (meaning Matisse's gallery), the possibility exists that the artists may have seen the Baga Serpent on view at Matisse and responded to it". "Specifically, the exhibition of the Baga Serpent in Matisse's gallery may have had an influence on the creation of Alexander Calder's 'Short Lipped Snake' from 1973."

As many people in the group may remember, the Bamun headcrest from the Sotheby's auction last May from the Stanoff collection also had a link to modern artists of it's life after collection through only a splash of paint that linked it to being in Vlaminck's studio, where it was also likely seen by Picasso.

For those of you who are interested in reading about this type of connection, message 2180 in the group will give you some of the background of that object along with the following dialog from the group:

http://groups.yahoo.com/group/African_Arts/message/2180

With special interest to a message from John Monroe to the group that talks about this relationship in more depth which I found especially interesting.

Message 2187 by John Monroe:

http://groups.yahoo.com/group/African_Arts/message/2187

The 14th annual New York Tribal and Textile Arts Show kicks off on Wednesday May 14th with a sneak preview from 6-9PM. The show runs from May 15-18th in a new location this year, Gramercy Park Armory.

The special exhibition this year is called "Cameroon 1931-1934: Photography of Paul Gebauer". Paul Gebauer has written several books on the art of Cameroon. The exhibition is curated by Jonathan Fogel (Tribal Magazine) and an article written by Jonathan Fogel will be published in the show catalog.

For those of you who have never been, the Tribal arts shows like this are a fantastic place to meet dealers from around the world and you get to see and examine lots of great Tribal art all in one place.

Exhibitions in New York City in May -

"Artwork/Artplay: African Gameboards" - opend Aprill 22nd and runs through May. MORE INFORMATION

For those in Europe, BRUNEAF (Brussels non European Art Fair) is coming up soon as well, it takes place June 4-8.

Christie's and Sotheby's are also holding back to back auctions in Paris in June. The Sotheby's auction is June 11th and the Christie's auction is June 10th.

Cheers!

RAND

www.RandAfricanArt.com

www.DiscoverAfricanArt.com

www.RandTribal.com

#3109

From: "Jan De Clerck" <jandeclerck@...>
Date: Tue Apr 29, 2008 6:32 am
Subject: Re: Lempertz auction April 26

koelan2003

Hello again,

We were there last Saturday. Nice event, a very high % of lots sold
if I'm not mistaking. Entered the ring for a couple of pieces, but
lost out this time (for 2 pieces against a highly reputed Brussels
dealer)... But hey that's what's auctions are all about aren't they?!
And at the bright side, that means that the money remains in my hands
for the upcoming BRUNEAF or, if I can make it, for one of the Paris
auctions.

Absolute highlight of the show: a monumental nineteenth century
bronze Benin head (lot 134) with a evidently low estimate between
40.000 and 60.000� went for.....560.000�. Adrenaline filled the
acution room ;-) (And nope, this was NOT the one I bidded on...)

Cheers, Jan

--- In African_Arts@yahoogroups.com, "Jan De Clerck"
<jandeclerck@...> wrote:
>
> Hi group,
>
> Thanks to Lee for pointing out to the upcoming Bonhams. In 1 word:
WOW!
> Very very decent overall quality and interesting selection of mostly
> the more known 'classic' cultural groupings. Very nice indeed! Don't
> know Bonhams too much but hey they guys can beat Sothebys? ;-) With
> some more realistic estimates really... However still mostly out of
my
> reach.
>
> Therefore (and for the reason of proximity off course) I'm foucssing
> more on the Lempertz auction* of this weekend in Brussels.
>
> Have a look at the 2 Dogons I like, lot 52 and 60, the Kulango staff
> 99, the Dan gameboard 106, the Baule comb (beautiful although state
is
> certainly not perfect), the Baul� seated figure 121, the Bamil�k�
mask
> 195 and the Luba stool with good early collection date 219.
>
> This on the higher end, but I feel that also on the more moderate
end
> they offer a nice little selection, I'm looking at the second
Kulango
> srtaff 98, a decent nicely patinated Baule 123, a fine though not so
> elaborate Guro pulley 100 and 2 lttle though nice things: the Senufo
> bowl (saw them irl and this one has even a good oil patina) and the
> little Bena Lulua fellow 199.
>
> Cheers, Jan
>
> *Thanks, Jan.
> To access the "katalog" in English, go to
http://www.lempertz.eu/online.html and select Auction 918.
> Link to the site in German:  http://www.lempertz.com/kataloge.html
> Lee
>

#3110

From: "Jan De Clerck" <jandeclerck@...>
Date: Tue Apr 29, 2008 1:12 pm
Subject: email adress Lucien Van de Velde

koelan2003

Hi group,

Apparently is the email adress that I have of Lucien Van de Velde
(lucien.africanart@...) no longer in use.

Anyone of you have a valid one?

Thanks! Jan

#3111

From: "Leif Holmstedt" <leif@...>
Date: Tue Apr 29, 2008 2:36 pm
Subject: SV: email adress Lucien Van de Velde

regrib5

lucien.africanart@...

Best

Leif Birger Holmstedt

Fra: African_Arts@yahoogroups.com [mailto:African_Arts@yahoogroups.com] P� vegne af Jan De Clerck
Sendt: 29. april 2008 15:12
Til: African_Arts@yahoogroups.com
Emne: [African_Arts] email adress Lucien Van de Velde

Hi group,

Apparently is the email adress that I have of Lucien Van de Velde
(lucien.africanart@pi.be) no longer in use.

Anyone of you have a valid one?

Thanks! Jan

#3112

From: balli� <amballie@...>
Date: Wed Apr 30, 2008 10:28 am
Subject: Lempertz: RESULTS

babybassam

http://www.lempertz.eu/fileadmin/ergebnisse/918-en.htm

Reply | Messages in this Topic (1)

#3113

From: "asiantrekker" <asiantrekker@...>
Date: Wed Apr 30, 2008 2:38 pm
Subject: Re: Bonham's African Art Auction May 15, 2008 Catalogue Now On-line

asiantrekker

Hello group,

Thank you Lee and Rand for news about upcoming auctions. I see that
the Zula stool from the Bareiss collection
(www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159432472) which we
previously discussed is also up for sale. (estimated at $30,000-50,000!)

The catalogue note at the end mentions a closely related example in the
Christiaens collection published in the book "Belgium Collects African Art"
by Beaulieux (page 149?)

Could anyone who has the book kindly scan the page to share with me?

Thank you very much in advance!

Paisarn

#3114

From: "RAND $www.RandAfricanArt.com$" <rand@...>
Date: Wed Apr 30, 2008 9:17 pm
Subject: Mystery mask

denverrand

http://www.randafricanart.com/mystery.html

Hi group

Recently I've started to try and research a mask that I have in my collection since I finally unpacked all of my books from my move.

When I originally acquired this mask the only thing the collector knew about it was that the mask was believed to be from the western or southern part of Zaire/DRC and was thought to have been from a culture near the Luba and Songye.

It's a pretty broad area but fortunately there are a lot of books on the cultures of this area. I pulled out every book that I had on central Africa and began to go through them one by one. I originally had included Gabon and the Congo in the search since this mask has white and black pigment on it, but didn't find anything stylistically similar.

The book that was of most interest and help to me was the book 'Beauty and the Beasts" by Marc Leo Felix that was written about Kifwebe and animal masks of the Songye, Luba and related peoples. My mask shares stylistic similarities, especially the pronounced forehead, to masks on page 97 (ill. 144, an animal mask) and on page 98 (ill. 151, a mask depicting a woman). In the text in this part of the book it describes how masks depicting women were often danced along with animal masks.

The mask is made of the same wood that I've seen many Luba and Songye Kifwebe masks made from and has the attached bark fiber raffia that is commonly found on masks from these cultures as well.

I thought I'd post some photos of the mask and solicit opinions of attribution from members of the group who may be familiar with or possibly have seen similar examples.

Link to photos of the mask in question:

Thanks!

RAND

#3115

From: "citroenzone" <citroenzone@...>
Date: Thu May 1, 2008 1:51 am
Subject: Kuba Mukenga Mask? ...Unknown Mask Form

citroenzone

Hello All,

A quick thanks to Rand for the invitation.  A curious associate of mine had
forwarded these rather poor photographs (located in the photos folder titled
Kuba Mukenga Mask?: 
http://ph.groups.yahoo.com/group/African_Arts/photos/browse/5803 ) of a very
unusual mask.  The style seems comparable to that of the Kuba Mukenga / Mukyeem
mask but seems to be influenced by a neighboring tribe.  Since this forum
centers around the artistic output of African cultures, I thought I would
request your input. Another colleague had reviewed these pictures earlier and
claimed to have encountered this particular variation while attending a
temporary exhibit at the Dallas Museum. He did not remember which culture they
attributed the work, but noted the mask to have slightly different stylistic
features vs. the traditional Mukenga mask found in their permanent collection. I
have only seen one example like this, but thought of it as a possible regional
distinction between the numerous Kuba subtribes. If anyone has any information
or can  recommend a publication that references such, I would appreciate the
guidance.

Regards,

Brian

#3116

From: Lee Rubinstein <LeeRubinstein@...>
Date: Thu May 1, 2008 3:50 am
Subject: Re: Kuba Mukenga Mask? ...Unknown Mask Form

leerubinstein

The shape of the eyes are suggestive perhaps of a Lula influence (not �Luba, not Lulua/Luluwa... LULA), but I can't �say for certain. �The eyes are just the one element that particularly strikes my eye and mind in viewing this mask. �I am not aware that the Lula have created or utilized beadwork in their masks or whether their influence has been known to have extended toward the Kuba, or vice versa. � The Lula are generally located -- in theory -- west of the Kwango River near the Yaka and amid such groups as the Dikidiki, Ntandu, Mbeko and Nkanu. �Works attributed to the Lula generally cite both Yaka and Teke influence. � Below is a Lula mask from the Sotheby's May 19, 2001 auction from the City Review that will illustrate, I think, the element eye element which prompts my suggestion:

Source: �http://www.thecityreview.com/s01stamp.html

At the Dallas Museum of Art, though, there are a number of beaded objects in the collection from the DRC which can be viewed on-line and which may be helpful to you in your search. �Perhaps � Here is the Kuba Makenga/Mukyeem�from the Dallas Museum.

Other beaded objects in Dallas include a Kuba mpaan:

...a Kuba kalyeem:

and a Yaka Misango Mayaka:

In case these images don't come through and if you wish to explore the Dallas Museum of Art African collection further, go to�http://collections.dallasmuseumofart.org/�and click on (of course) African Art.

It is worth keeping in mind that otherwise familiar forms often arise with variations which make it challenging to identify the origin of the influence or of the object itself. �A good example is provided by this Kuba mask in the Eiteljorg Collection at the Indianapolis Museum of Art. �(Enlargement/Source). �Although horned masks surely are found within the Kuba complex of masks, I don't recall having seen seen another mask of the�pwoom itok�type with�horns extending from the brows as in this example.��

So, there is variation, influence, inter-mingling and ambiguity aplenty. �

In any case, I hope some of these links and examples will allow you to explore further the mask you have queried. �One final note I should include is this: �Last year I came across a spectacular�mukenga/mukyeem. �Almost�all of the observable elements (facial composition, superstructure, beadwork, etc.) corresponded to examples I have seen, although admittedly there are many beautifully crafted examples among which it is difficult to distinguish or conclude ritual vs commercial production/origin. �The variation that made this mask both breath-taking and problematic was that it stood -- if I remember correctly -- at least five or six feet tall and was easily the same or a greater dimension wide. �It was a spectacular reproduction on a scale that was dazzling, as dazzling perhaps as the quality of workmanship and artistry. �In a photograph without dimensions specified or in the absence of any objects by which to scale the image, one might have been inclined to consider more closely the mask's authenticity, but had it been seen filling the back of a pick-up truck, it would have been easier to conclude that it was not likely a ritually authentic mask. �Still, the overall form itself and the constituent elements all justified a high assessment of quality and value -- a truly fine example of contemporary artistry in the idiom of a traditional mask form. �

Lee

On Apr 30, 2008, at 9:51 PM, citroenzone wrote:

Hello All,

A quick thanks to Rand for the invitation. A curious associate of mine had forwarded these rather poor photographs (located in the photos folder titled Kuba Mukenga Mask?:�http://ph.groups.yahoo.com/group/African_Arts/photos/browse/5803�) of a very unusual mask. The style seems comparable to that of the Kuba Mukenga / Mukyeem mask but seems to be influenced by a neighboring tribe. Since this forum centers around the artistic output of African cultures, I thought I would request your input. Another colleague had reviewed these pictures earlier and claimed to have encountered this particular variation while attending a temporary exhibit at the Dallas Museum. He did not remember which culture they attributed the work, but noted the mask to have slightly different stylistic features vs. the traditional Mukenga mask found in their permanent collection. I have only seen one example lik! e this, but thought of it as a possible regional distinction between the numerous Kuba subtribes. If anyone has any information or can recommend a publication that references such, I would appreciate the guidance.

Regards,

Brian

#3117

From: hanstorm <hastorm@...>
Date: Thu May 1, 2008 2:09 pm
Subject: Re: Mystery mask

hansvanderstorm

Hi Rand,

the �lower part of your mask aspecially the mouth and nose, reminds me to Makonde

best wishes, hans

Op 30-apr-2008, om 23:17 heeft RAND ((www.RandAfricanArt.com)) het volgende geschreven:

Hi group
�
Recently I've started to try and research a mask that I have in my collection�since I finally unpacked all of my books from my move.
�
When I originally acquired�this mask the only thing the collector knew about it was that the mask was believed to be�from the western or southern part of�Zaire/DRC and was thought to have been from a culture near the Luba and Songye.
�
It's a pretty broad area but fortunately there are a lot of books on the cultures of this area. I pulled out every book that I had on central Africa and began to go through them one by one. I originally had included Gabon and the Congo�in the search since this mask has white and black pigment on it, but didn't find anything stylistically similar.
�
The book that was of most interest and help to me was the book 'Beauty and the Beasts" by Marc Leo Felix that was written about Kifwebe and animal masks of the Songye, Luba and related peoples.�My mask shares stylistic similarities, especially the pronounced forehead,�to masks on page 97 (ill. 144, an animal mask) and on page 98 (ill. 151, a mask depicting a woman). In the text in this part of the book it describes how masks depicting women were often danced along with animal masks.
�
The mask is made of the same wood that I've seen many Luba and Songye Kifwebe masks made from and has the attached bark fiber raffia that is commonly found on masks from these cultures as well.
�
I thought I'd post some photos of the mask and solicit opinions of attribution from members of the group who may be familiar with or possibly have seen similar examples.
�
Link to photos of the mask in question:
http://www.randafricanart.com/mystery .html
�
Thanks!
RAND

#3118

From: "RAND $www.RandAfricanArt.com$" <rand@...>
Date: Thu May 1, 2008 2:36 pm
Subject: Re: Kuba Mukenga Mask? ...Unknown Mask Form

denverrand

Hello Brian

Thanks for posting your question to the group.

The face on the mask isn't like any other Mukenga mask I've come across that has been documented, or that I've seen in person. The face on the mask is very narrow and comes to much more of a point than most and there are other unusual stylistic qualities to it, such as the treatment of the representation of the trunk on the top.

The face on the mask has vague stylistic similarities to some Lele masks I've seen, they are neighbors of the Kuba.

Kete masks often come to a pronounced point at the bottom like this mask does, they are neighbors of the Kuba as well and their masks share stylistic similarities to the Kuba.

If you have the book 'The Tribal Arts of Africa', look on pages 174 and 175 for masks from the region (from the Lele and Ngeende) that have some general stylistic similarities to the face on the example you posted.

You're right in the fact that the mask is comparable to the Mukenga masks in general overall form and appearance. It's a hybridized version, drawing from styles of masks in the area, and it's also a mask that has a lot of creative artistic interpretation in my opinion.

It's widely documented that many objects that were used in and by various cultures were commissioned to be made by neighboring cultures. Often times, as is common in this region of the DRC, various cultures will share stylistic similarities in the objects that are produced. I don't know much about the use of Mukenga masks in the cultures surrounding the Kuba, but it is possible and it is also possible that there are stylistic variances that could be found if this was the case.

On the other hand, with things that are made specifically for the collecting market or made specifically to be sold to outsiders, there is often times a great deal of individual artistic creativity put into objects to make them more interesting or appealing to outsiders.

A lot of times objects from one culture are produced in workshops far away from where they would have originally been produced and used. You have carvers and artists in Cameroon (for example) making objects from the cultures of other parts of Africa and often times these objects don't follow the true traditional forms and styles of the objects they're producing.

As for the Mukenga masks, I've seen a lot of them that were made specifically to be sold, they're a popular and interesting style of mask. I've seen many with strange and inventive stylistic qualities to them. They're not a simple type of mask to make, there is a lot of work and time put into the crafting of them.

There is nothing wrong (in my opinion) with things that are made specifically for sale to outsiders as long as they're represented properly. Many nice things crafted after traditional forms, as well as inventive examples, come from talented artists.

From the photos you provided it looks like the object was originally on an online auction site (the little camera on the lower right hand side of the photos). I don't know how the mask was originally marketed - age, origin etc., but what I think (my opinion) is that the mask in the photo is a more recent creation made specifically for the collecting market that is a hybridized version of a traditional Kuba Mukenga mask.

At this point it's interesting to find out what cultures the hybridization comes from, but it's important to know that it's a modern interpretation or version of a traditional mask.

All this is just my personal opinion, hope it helps some.

Cheers!

RAND

citroenzone <citroenzone@...> wrote:

Hello All,

A quick thanks to Rand for the invitation. A curious associate of mine had forwarded these rather poor photographs (located in the photos folder titled Kuba Mukenga Mask?: http://ph.groups.yahoo.com/group/African_Arts/photos/browse/5803 ) of a very unusual mask. The style seems comparable to that of the Kuba Mukenga / Mukyeem mask but seems to be influenced by a neighboring tribe. Since this forum centers around the artistic output of African cultures, I thought I would request your input. Another colleague had reviewed these pictures earlier and claimed to have encountered this particular variation while attending a temporary exhibit at the Dallas Museum. He did not remember which culture they attributed the work, but noted the mask to have slightly different stylistic features vs. the traditional Mukenga mask found in their permanent collection. I have only seen one example like this, but thought of it as a possible regional distinction between the numerous Kuba subtribes. If anyone has any information or can recommend a publication that references such, I would appreciate the guidance.

Regards,

Brian

#3119

From: dwolf22@...
Date: Thu May 1, 2008 3:57 pm
Subject: Re: Mystery mask

nashoni_art

Hi Rand... Looking at your mask I find similarities to one in my collection tho it is by no means a definitive match. But for what it's worth I am including a pic so you can make your own conclusions. My mask, I believe is a sickness mask from the Bashilele, a subtribe of the Kuba if I'm not mistaken. The similarities I note are the broad forehead... the undercut brow.. the slit eyes... and the flattened high cheek beneath the eyes. Stylistic similarities which seem to me just as suggestive towards this group as the white pigment and the 'neck' are to the Luba/Songye. Love the powerful yet serene prescence of your mask... good luck and keep us posted on what you find out.

Daniel

Wondering what's for Dinner Tonight? Get new twists on family favorites at AOL Food.

#3120

From: "Ricardo de Matos" <dematos.ricardo@...>
Date: Thu May 1, 2008 8:56 pm
Subject: Re: Mystery mask

rjdematos

Hi Daniel,

If I am not mistaken your mask is a Kuba mask of the Kabidi type.

Best wishes,

Ricardo

2008/5/1, dwolf22@... <dwolf22@...>:

Hi Rand... Looking at your mask I find similarities to one in my collection tho it is by no means a definitive match. But for what it's worth I am including a pic so you can make your own conclusions. My mask, I believe is a sickness mask from the Bashilele, a subtribe of the Kuba if I'm not mistaken. The similarities I note are the broad forehead... the undercut brow.. the slit eyes... and the flattened high cheek beneath the eyes. Stylistic similarities which seem to me just as suggestive towards this group as the white pigment and the 'neck' are to the Luba/Songye. Love the powerful yet serene prescence of your mask... good luck and keep us posted on what you find out.

Daniel

Wondering what's for Dinner Tonight? Get new twists on family favorites at AOL Food.

#3121

From: Lee Rubinstein <LeeRubinstein@...>
Date: Thu May 1, 2008 11:01 pm
Subject: Sotheby's/May 16: Bareiss, Harley, Blades, Ivories, Birds, Aquatic Creatures and Waterways

leerubinstein

Lot 52-Bamana Antelope Marionette Head

Thanks, Rand, for the information about the Sotheby's auction. �

For those interested to learn more about the Bareiss collection and the current Bareiss offerings (among them�Lots 157-167,�170-185,�187), see the '99 Holland Cotter article from when the collection was exhibited at the�Neuberger�(Message�1540). �Also, the Sotheby's press release for the sale can be viewed at��http://files.shareholder.com/downloads/BID/296107775x0x190627/b8ba57f7-e434-4d33-9593-d987663b3062/190627.pdf

As Paisarn indicated,�Lot 176�is indeed the Zula caryatid stool previously discussed (see Message�1542). �The Bareiss Holo and Holo-Holo (157, �158,�159�and�160), and Songye material (170,�171,�172,�173�and�174)�is particularly interesting and strong, as is the pre-Bembe figure, Lot�175. �For enthusiasts of musical instruments, the East African lots begin with a zither attributed to the Kwere or Zaramo (Lot�179). �Then, selected works from the Bareiss collection continue with some thrones before Lot�183�-- an elegant and alluring Utongwe-region Nyamwezi male figure, which was but one of two Utongwe-region figures in KILENGI, leading me to wonder about the disposition of the other, a female figure, and the rest of the Bareiss collection. �Anybody?

In addition to the Bareiss offerings previously mentioned is the very recognizable Kamba figure (Lot�187) which appeared in "Africa: �Art of a Continent" as did the Utongwe Nyamwezi and the compelling Makonde Helmet Mask (Lot�185). �Based on the very interesting selection of works from the Bareiss collection (among the three collections from which works are featured), the "house" seem to be still moving cautiously with regard to the appreciation and market value attributed to Eastern and Southern African works. ��

More generally, I noticed particularly among the offerings the following lots and/or blocks of objects:

A nice array of knives and other bladed items beginning with�Lot 61 -- A Lali Knife�(DRC) and continuing though�Lot 74 -- A Fon Sceptre. �Also, don't miss the Holo adze (Lot�160) or Lot 191 -- a Zulu or Tsonga dance staff with blade! �There is also a fine selection of very interesting objects in both elephant and hippo ivories beginning with the Luba Pendant and also including works from the Pende, Pinda, Mbala and Lega -- Lots�128�through�133�and then Luba-Songye and Chokwe (135�and�136), and then�140 (Kongo),�144 (Lega),�145(Lega),�146(Lega),�147(Lega),�148(Luba-Songye),�153(Luba or Hungaan,�154(Fang), and�155(Luba). �There is also a Metoko figure carved from waterbuck antelope bone (Lot�177).

One item that stands our both for its beautiful form and its history is a marionette head collected by F.H. Lem, author of the important early publication Sculptures Soudanaises, whose collection served as a primary basis for the legendary collection of the Princess Gourieli aka Helena Rubinstein. �(Why does that name sound so familiar?) �

Equally intriguing for its historical significance in the realm of 20th century ethnography and collecting is Lot 85, a Mano mask collected by �George Harley. �The catalogue notes reveal why this is so remarkable:

"The mask was collected by Dr. George Harley (1894-1966) who was a medical missionary in Ganta, Liberia from 1926-1962. During this time he acquired over one thousand masks from the region. A few hundred, particularly those collected before 1946, went to the Peabody Museum of Archaeology and Ethnology at Harvard University; others went to private collectors. Harley was not a professional art historian or anthropologist but acquired a lot of practical knowledge through his extended stays in Liberia. In 1941 he publsihed Notes on the Poro in Liberia, followed by his second book Masks as Agents of Social Control in Northeast Liberia in 1950. While much of the information Harley provided has been disputed by later scholarship, his information nevertheless builds much of the material foundation for our knowledge of Dan and Mano masks and their function within the secret societies. Harley was working and interviewing informants during a time when there was still a relatively strong memory of Poro society practices before they began to change under Western influence. See Wells (1977: 22-27) for further discussion."*

*i.e., Louis T. Wells, Jr., "THE HARLEY MASKS OF NORTHEAST LIBERIA," �African Arts (Vol. X, Number 2, January, 1977).

��Lot 85 �-- Mano Mask�collected by George Harley

Another sub-agenda (always lurking...) that prompts me to highlight this mask is the important and lasting relationship that mark which Harley's involvement with the Liberian communities where he collected. �To illustrate this point as well as to acknowledge continuing efforts to working together to stabilize the region and the world as a whole, see a 2005 article about recent activities at the Ganta Mission:

"During his busy day, Nyanti pauses to tell his U.S. visitors about�George W. Harley, a missionary who came to Liberia from Durham, N.C., in 1926. Speaking with reverence, repeating the missionary's full name every time he refers to him, Nyanti tells the visitors that George W. Harley cut his way to Ganta through the bush when there were no roads, believing that God was calling him to serve in this remote community. The ministry George W. Harley began in 1926, Nyanti says, grew to become Liberia's most sophisticated mission, including one of Liberia's finest hospitals, until it was nearly destroyed by rebel missiles between June and August 2003. Nyanti tells his visitors that George W. Harley's ashes are buried beneath a stone monument outside the church building at Ganta Mission. The monument used to have a marker honoring George W. Harley, he says, but the rebels stole it." �-- "Ganta Mission re-emerges after Liberia's civil war"

http://www.umc.org/site/c.gjJTJbMUIuE/b.957873/k.E3F7/Ganta_Mission_reemerges_after_Liberias_civil_war.htm

On a somewhat related note... Allthough I see no specific detail regarding the initiative referenced, I think it worth pointing out that Lot�101�-- A Yoruba Epa Helmet Mask -- is listed as a "PROPERTY FROM A MIDWESTERN CORPORATE COLLECTION TO BENEFIT CORPORATE SOCIAL RESPONSIBILITY INITIATIVES". �Perhaps someone with the printed catalog could advise if there is more detail provided in the printed materials?

**************************************

Speaking of social responsibility, below is the inevitable next tangent on a tangent.

Newcomers to the group - and any of you who may have missed or overlooked it, please see the link from David Levine's recent posting regarding the upcoming publication about work he is doing in the Gambia and Sierra Leone and his related experiences in West Africa: �http://toubabdoc.blogspot.com/. �For information on other development initiatives in which group members are involved such as the�Magic Penny�and the�Kambia Appeal�in Sierra Leone, see Message�2296�or click the embedded links above. Also, although my web pages suffered a technical blow recently, you can view images from my recent endeavors in Senegal and Rwanda (alas, sans�commentary)�here. �

Also, I would be delighted to introduce everyone to my friend and inspiration Viola Vaughn, who is the founder and director of�10,000 Girls�-- a wonderful initiative with which I am involved in Senegal. �Some of you may have learned about Viola through the recent CNN coverage about her and her work to facilitate educational and entrepreneurship opportunities for young women in Senegal on CNN:

http://edition.cnn.com/2008/LIVING/04/10/heroes.vaughn/index.html#cnnSTCVideo

http://edition.cnn.com/2008/LIVING/04/10/heroes.vaughn/index.html#cnnSTCText

***************************************

Now, back to the offerings:

Those who are intrigued by�Lot 82 -- a Senufo Gameboard�will also wish to make a special trip to the UN to see�Artwork/Artplay: �African Gameboards�during the month of May, just a part of the "international photographic and art exhibition by and about indigenous artists coinciding with the 7th session of the Permanent Forum on Indigenous Issues taking place at UN Headquarters in New York". (Source: �http://www.africanart.org/exhibitions/.)

Although markedly different in style but staying in the realm of the Senufo, I find it interesting to note the concurrent appearance of this Senufo bird at Sotheby's as well as Lot 111 in the Lempertz auction this past week-end. �

LOT 83 � --�A SENUFO BIRD ...

*******************************************

In addition to the highlighted collections, I noticed two works being offered from the collection of Carl and Wilma Zabel, whose East African works were exhibited at the�SMA Fathers Museum�in Tenafly, NJ in 2005 as "The Discerning Eye: African Art from the Collection of Carl and Wilma Zabel" with an accompanying publication by Charles Bordogna. �The Zabel lots are as follows: �

Lot 86: �Dan Ritual Implement��

Lot 188 -- Tanzanian Magical Horn�

So, there is another Dan object and one more Tanzanian lot offered in search of receptivity to the East African traditions. �

And while touching back on the Western Guinea Coast, two other objects that intrigued me are�Lot�88�-- a Bete Staff and��Lot 95 -- A Sherbro Figure�... -- the latter noted a propos the September, 2007 discussion pertaining to the "Favorite Wife" figure and the minsereh�beginning with Message�2500. �As you may note, William Siegmann, former curator of the African collection at the Brooklyn Museum who provides commentary for the offered Sherbro figure, makes reference anew to the frequent misapplication of the minsereh reference noted in Message�2505. �

��

Before departing from the "Liberian hinterlands" and the catalog as well, there is one additional offered lot that I wish to highlight as an introduction to a very interesting article that touches upon another recurring theme in which I never seem to lose interest. �Nor, should I say, do I think that it is a theme that should be ignored by anyone wishing to develop an understanding of the complex inter-relationships of African traditions and forms. �I find�Lot 96 -- Grebo Janus Crest�remarkable for its strong resemblance to horned masks found in southeastern Nigeria. �I recently came across (again, I think) a compelling article which explored the very important and too often overlooked historical interaction among peoples of the Western Guinea Coast and the regions of southeastern Nigeria. � � In "Commercial transactions and cultural interactions from�the Delta to Douala and beyond,"�Rosalind J. Wilcox navigates this important, watery terrain, giving great impetus for further exploration of this intriguing aspect of African cultural, commercial, historical and stylistic interplay which, once recognized, re-appears constantly in comparative studies of forms from diverse geographical locales along the coasts and rivers of Western Africa! �See particularly "Migration Patterns" on page�10�and "The Kru Connection" on page�11�of the linked on-line version. �One can also access the article in African Arts Volume XXXV, Number 1 (Spring, 2002). �Swim fast, don't doggie paddle to this article! �For inspiration, see�Lot 104 -- Ijo Fish Headcrest�(below)... and then start thinking about Bidjogo, Mami Wata,... and the warming Atlantic! �There is no law against reading while in your canoe.

Lee

On Apr 28, 2008, at 6:03 PM, RAND (www.RandAfricanArt.com) wrote:

Hi group -
�
I've been away from the group for a long time because I've�needed to focus my time and energy on other things but I'm looking forward to becoming more active again now that things have finally started to settle down for me now.
�
I was happy to see that we're now at 500+ members in the group since it was launched in March of 2005!
�
May is an especially busy month in New York City in the Tribal art market...
�
In addition to the Bonhams & Butterfields auction that Lee posted a message about that is taking place on May 15th, Sotheby's is holding their spring auction on May 16th and the New York Tribal and Textile Arts Show opens on May 15th with a preview gala on the 14th.
�
The catalog for the Sotheby's spring auction on May 16th�is now available online:
http://www.sothebys.com/app/paddleReg/paddlereg.do?dispatch=eventDetails&event_id=28794
�
Of special interest to me were the group of African objects being offered from the Bareiss Family Collection (31 in total), especially the East African objects being offered from the collection. The collection was published in the book "Kilenjgi: African Art from the Bareiss Family Collection". Overall I thought the auction had a lot of nice examples of various types of objects and they've done a nice job with the descriptions on a lot of objects.
�
Featured in the auction is a 'Magnificent and Highly Important�Baga Serpent" (lot 58, estimate $1.5 - 2 million USD) that was collected�in situ�by art dealers�H�l�ne& Henri Kamer in 1957. (H�l�ne�Kamer later married Philippe Leloup and is more widely recognized by the name�H�l�ne Leloup�with galleries in Paris and NYC). It stated in the auction listing that�several of�the other Baga serpents the Kamer's collected during this trip are now in the collections of the Louvre, the Metropolitan Museum of Art and the Menil Foundation in Houston.
�
This particular object was sold in 1961 to art dealer Pierre Matisse (son of Henri Matisse) and exhibited in his gallery in NYC. It is credited as being an inspirational object to artists of the 60's.
�
It states in the press release - "Here (meaning Matisse's gallery), the possibility exists that the artists may have seen the Baga Serpent on view at Matisse and responded to it". "Specifically, the exhibition of the Baga Serpent in Matisse's gallery may have had an influence on the creation of Alexander Calder's 'Short Lipped Snake' from 1973."
�
As many people in the group may remember, the Bamun headcrest from the Sotheby's auction last May from the Stanoff collection also had a link to modern artists of it's life after collection through only a�splash of paint�that linked it to being in Vlaminck's studio, where it was also�likely�seen by Picasso.
�
For those of you who are interested in reading about this type of connection, message 2180 in the group will give you some of the background of that object along with the following dialog from the group:
http://groups.yahoo.com/group/African_Arts/message/2180
�
With speci! al interest to a message from John Monroe to the group that talks about this relationship in more depth which I found especially interesting.
�
Message 2187 by John Monroe:
http://groups.yahoo.com/group/African_Arts/message/2187
�
The�14th annual�New York Tribal and Textile Arts Show�kicks off on Wednesday May 14th with a�sneak preview�from 6-9PM. The show runs from May 15-18th in a new location this year, Gramercy Park Armory.
�
The special exhibition this year is called "Cameroon 1931-1934: Photography of Paul Gebauer". Paul Gebauer has written several books on the art of Cameroon. The exhibition is curated by Jonathan Fogel (Tribal Magazine) and an article writte! n by Jonathan Fogel will be published in the show catalog.
�
For those of you who have never been, the Tribal arts shows like this are a fantastic place to meet dealers from around the world and you get to see and examine lots of great Tribal art all in one place.
�
Exhibitions�in New York City in May -
�
"Artwork/Artplay: African Gameboards" - opend Aprill 22nd and runs through May.�MORE INFORMATION
�
For those in Europe,�BRUNEAF�(Brussels non European Art Fair) is coming up soon as well, it takes place June 4-8.
�
Christie's and Sotheby's are also holding back to back auctions in Paris in June. The�Sotheby's auction�is June 11th and the Christie's auction is June 10th.
�
Cheers!
RAND
www.RandAfricanArt.com
www.DiscoverAfricanArt.com
www.RandTribal.com
�
�

Begin forwarded message:

From: Aldelor@...
Date: April 29, 2008 4:59:16 PM EDT
To: rukundo@...
Subject: Re: YORUBA and African Arts... George Harley

Thanks for your note...

Yes; the Mano mask is interesting; in-fact; the entire Sotheby's sale is quite good... ��I am interested in Harley material because I have a full sized Dan mask with rare headress field collected by Harley before 1956 and a wonderful little passport mask that was acquired from Harley's widow in 1977; but collected in 1951... �

So I have some vested interest.. :)

Thanks again,

Craig'

**************
Need a new ride? Check out the largest site for U.S. used car listings at AOL Autos.
(http://autos.aol.com/used?NCID=aolcmp00300000002851)

#3122

From: Ed Jones <bucit@...>
Date: Thu May 1, 2008 11:30 pm
Subject: Re: Sotheby's/May 16: Bareiss, Harley, Blades, Ivories, Birds, Aquatic Creatures and Waterways

bucit

Hello Lee.

Aside from the typical beauties to be gazed upon and admired, none is more radiant than the works of Viola Vaughn and her "10,000 Girls" program in the Senegal ... thanks for sharing.

Kindest regards,

Ed

--- On Thu, 5/1/08, Lee Rubinstein <LeeRubinstein@...> wrote:

From: Lee Rubinstein <LeeRubinstein@...>
Subject: [African_Arts] Sotheby's/May 16: Bareiss, Harley, Blades, Ivories, Birds, Aquatic Creatures and Waterways
To: African_Arts@yahoogroups.com
Date: Thursday, May 1, 2008, 4:01 PM

Thanks, Rand, for the information about the Sotheby's auction.

For those interested to learn more about the Bareiss collection and the current Bareiss offerings (among them Lots 157-167, 170-185, 187), see the '99 Holland Cotter article from when the collection was exhibited at the Neuberger (Message 1540). Also, the Sotheby's press release for the sale can be viewed at   http://files.shareholder.com/downloads/BID/296107775x0x190627/b8ba57f7-e434-4d33-9593-d987663b3062/190627.pdf

As Paisarn indicated, Lot 176 is indeed the Zula caryatid stool previously discussed (see Message 1542). The Bareiss Holo and Holo-Holo (157, 158, 159 and 160), and Songye material (170, 171, 172, 173 and 174) is particularly interesting and strong, as is the pre-Bembe figure, Lot 175. For enthusiasts of musical instruments, the East African lots begin with a zither attributed to the Kwere or Zaramo (Lot 179). Then, selected works from the Bareiss collection continue with some thrones before Lot 183 -- an elegant and alluring Utongwe-region Nyamwezi male figure, which was but one of two Utongwe-region figures in KILENGI, leading me to wonder about the disposition of the other, a female figure, and the rest of the Bareiss collection. Anybody?

In addition to the Bareiss offerings previously mentioned is the very recognizable Kamba figure (Lot 187) which appeared in "Africa: Art of a Continent" as did the Utongwe Nyamwezi and the compelling Makonde Helmet Mask (Lot 185). Based on the very interesting selection of works from the Bareiss collection (among the three collections from which works are featured), the "house" seem to be still moving cautiously with regard to the appreciation and market value attributed to Eastern and Southern African works.

More generally, I noticed particularly among the offerings the following lots and/or blocks of objects:

A nice array of knives and other bladed items beginning with Lot 61 -- A Lali Knife (DRC) and continuing though Lot 74 -- A Fon Sceptre. Also, don't miss the Holo adze (Lot 160) or Lot 191 -- a Zulu or Tsonga dance staff with blade! There is also a fine selection of very interesting objects in both elephant and hippo ivories beginning with the Luba Pendant and also including works from the Pende, Pinda, Mbala and Lega -- Lots 128 through 133 and then Luba-Songye and Chokwe (135 and 136), and then 140 (Kongo), 144 (Lega), 145(Lega), 146(Lega), 147(Lega), 148(Luba-Songye), 153(Luba or Hungaan, 154(Fang), and 155(Luba). There is also a Metoko figure carved from waterbuck antelope bone (Lot 177).

One item that stands our both for its beautiful form and its history is a marionette head collected by F.H. Lem, author of the important early publication Sculptures Soudanaises, whose collection served as a primary basis for the legendary collection of the Princess Gourieli aka Helena Rubinstein. (Why does that name sound so familiar?)
Lot 52-Bamana Antelope Marionette Head

Equally intriguing for its historical significance in the realm of 20th century ethnography and collecting is Lot 85, a Mano mask collected by George Harley. The catalogue notes reveal why this is so remarkable:

"The mask was collected by Dr. George Harley (1894-1966) who was a medical missionary in Ganta, Liberia from 1926-1962. During this time he acquired over one thousand masks from the region. A few hundred, particularly those collected before 1946, went to the Peabody Museum of Archaeology and Ethnology at Harvard University; others went to private collectors. Harley was not a professional art historian or anthropologist but acquired a lot of practical knowledge through his extended stays in Liberia. In 1941 he publsihed Notes on the Poro in Liberia, followed by his second book Masks as Agents of Social Control in Northeast Liberia in 1950. While much of the information Harley provided has been disputed by later scholarship, his information nevertheless builds much of the material foundation for our knowledge of Dan and Mano masks and their function within the secret societies. Harley was working and interviewing informants during a time when there was still a relatively strong memory of Poro society practices before they began to change under Western influence. See Wells (1977: 22-27) for further discussion."*

*i.e., Louis T. Wells, Jr., "THE HARLEY MASKS OF NORTHEAST LIBERIA," African Arts (Vol. X, Number 2, January, 1977).

  Lot 85 -- Mano Mask collected by George Harley

Another sub-agenda (always lurking...) that prompts me to highlight this mask is the important and lasting relationship that mark which Harley's involvement with the Liberian communities where he collected. To illustrate this point as well as to acknowledge continuing efforts to working together to stabilize the region and the world as a whole, see a 2005 article about recent activities at the Ganta Mission:

"During his busy day, Nyanti pauses to tell his U.S. visitors about George W. Harley, a missionary who came to Liberia from Durham, N.C., in 1926. Speaking with reverence, repeating the missionary's full name every time he refers to him, Nyanti tells the visitors that George W. Harley cut his way to Ganta through the bush when there were no roads, believing that God was calling him to serve in this remote community. The ministry George W. Harley began in 1926, Nyanti says, grew to become Liberia's most sophisticated mission, including one of Liberia's finest hospitals, until it was nearly destroyed by rebel missiles between June and August 2003. Nyanti tells his visitors that George W. Harley's ashes are buried beneath a stone monument outside the church building at Ganta Mission. The monument used to have a marker honoring George W. Harley, he says, but the rebels stole it." -- "Ganta Mission re-emerges after Liberia's civil war"

http://www.umc.org/site/c.gjJTJbMUIuE/b.957873/k.E3F7/Ganta_Mission_reemerges_after_Liberias_civil_war.htm

On a somewhat related note... Allthough I see no specific detail regarding the initiative referenced, I think it worth pointing out that Lot 101 -- A Yoruba Epa Helmet Mask -- is listed as a "PROPERTY FROM A MIDWESTERN CORPORATE COLLECTION TO BENEFIT CORPORATE SOCIAL RESPONSIBILITY INITIATIVES". Perhaps someone with the printed catalog could advise if there is more detail provided in the printed materials?

**************************************

Speaking of social responsibility, below is the inevitable next tangent on a tangent.

Newcomers to the group - and any of you who may have missed or overlooked it, please see the link from David Levine's recent posting regarding the upcoming publication about work he is doing in the Gambia and Sierra Leone and his related experiences in West Africa: http://toubabdoc.blogspot.com/. For information on other development initiatives in which group members are involved such as the Magic Penny and the Kambia Appeal in Sierra Leone, see Message 2296 or click the embedded links above. Also, although my web pages suffered a technical blow recently, you can view images from my recent endeavors in Senegal and Rwanda (alas, sans commentary) here.

Also, I would be delighted to introduce everyone to my friend and inspiration Viola Vaughn, who is the founder and director of 10,000 Girls -- a wonderful initiative with which I am involved in Senegal. Some of you may have learned about Viola through the recent CNN coverage about her and her work to facilitate educational and entrepreneurship opportunities for young women in Senegal on CNN:

http://edition.cnn.com/2008/LIVING/04/10/heroes.vaughn/index.html#cnnSTCVideo

http://edition.cnn.com/2008/LIVING/04/10/heroes.vaughn/index.html#cnnSTCText

***************************************

Now, back to the offerings:

Those who are intrigued by Lot 82 -- a Senufo Gameboard will also wish to make a special trip to the UN to see Artwork/Artplay: African Gameboards during the month of May, just a part of the "international photographic and art exhibition by and about indigenous artists coinciding with the 7th session of the Permanent Forum on Indigenous Issues taking place at UN Headquarters in New York". (Source: http://www.africanart.org/exhibitions/.)

Although markedly different in style but staying in the realm of the Senufo, I find it interesting to note the concurrent appearance of this Senufo bird at Sotheby's as well as Lot 111 in the Lempertz auction this past week-end.

LOT 83 -- A SENUFO BIRD ...

*******************************************

In addition to the highlighted collections, I noticed two works being offered from the collection of Carl and Wilma Zabel, whose East African works were exhibited at the SMA Fathers Museum in Tenafly, NJ in 2005 as "The Discerning Eye: African Art from the Collection of Carl and Wilma Zabel" with an accompanying publication by Charles Bordogna. The Zabel lots are as follows:

Lot 86: Dan Ritual Implement

Lot 188 -- Tanzanian Magical Horn

So, there is another Dan object and one more Tanzanian lot offered in search of receptivity to the East African traditions.

And while touching back on the Western Guinea Coast, two other objects that intrigued me are Lot 88 -- a Bete Staff and  Lot 95 -- A Sherbro Figure ... -- the latter noted a propos the September, 2007 discussion pertaining to the "Favorite Wife" figure and the minsereh beginning with Message 2500. As you may note, William Siegmann, former curator of the African collection at the Brooklyn Museum who provides commentary for the offered Sherbro figure, makes reference anew to the frequent misapplication of the minsereh reference noted in Message 2505.



Before departing from the "Liberian hinterlands" and the catalog as well, there is one additional offered lot that I wish to highlight as an introduction to a very interesting article that touches upon another recurring theme in which I never seem to lose interest. Nor, should I say, do I think that it is a theme that should be ignored by anyone wishing to develop an understanding of the complex inter-relationships of African traditions and forms. I find Lot 96 -- Grebo Janus Crest remarkable for its strong resemblance to horned masks found in southeastern Nigeria. I recently came across (again, I think) a compelling article which explored the very important and too often overlooked historical interaction among peoples of the Western Guinea Coast and the regions of southeastern Nigeria. In "Commercial transactions and cultural interactions from the Delta to Douala and beyond," Rosalind J. Wilcox navigates this important, watery terrain, giving great impetus for further exploration of this intriguing aspect of African cultural, commercial, historical and stylistic interplay which, once recognized, re-appears constantly in comparative studies of forms from diverse geographical locales along the coasts and rivers of Western Africa! See particularly "Migration Patterns" on page 10 and "The Kru Connection" on page 11 of the linked on-line version. One can also access the article in African Arts Volume XXXV, Number 1 (Spring, 2002). Swim fast, don't doggie paddle to this article! For inspiration, see Lot 104 -- Ijo Fish Headcrest (below)... and then start thinking about Bidjogo, Mami Wata,... and the warming Atlantic! There is no law against reading while in your canoe.

Lee

On Apr 28, 2008, at 6:03 PM, RAND (www.RandAfricanArt.com) wrote:

Hi group -

I've been away from the group for a long time because I've needed to focus my time and energy on other things but I'm looking forward to becoming more active again now that things have finally started to settle down for me now.

I was happy to see that we're now at 500+ members in the group since it was launched in March of 2005!

May is an especially busy month in New York City in the Tribal art market...

In addition to the Bonhams & Butterfields auction that Lee posted a message about that is taking place on May 15th, Sotheby's is holding their spring auction on May 16th and the New York Tribal and Textile Arts Show opens on May 15th with a preview gala on the 14th.

The catalog for the Sotheby's spring auction on May 16th is now available online:

http://www.sothebys .com/app/ paddleReg/ paddlereg. do?dispatch= eventDetails&event_id=28794

Of special interest to me were the group of African objects being offered from the Bareiss Family Collection (31 in total), especially the East African objects being offered from the collection. The collection was published in the book "Kilenjgi: African Art from the Bareiss Family Collection". Overall I thought the auction had a lot of nice examples of various types of objects and they've done a nice job with the descriptions on a lot of objects.

Featured in the auction is a 'Magnificent and Highly Important Baga Serpent" (lot 58, estimate $1.5 - 2 million USD) that was collected in situ by art dealers H�l�ne& Henri Kamer in 1957. (H�l�ne Kamer later married Philippe Leloup and is more widely recognized by the name H�l�ne Leloup with galleries in Paris and NYC). It stated in the auction listing that several of the other Baga serpents the Kamer's collected during this trip are now in the collections of the Louvre, the Metropolitan Museum of Art and the Menil Foundation in Houston.

This particular object was sold in 1961 to art dealer Pierre Matisse (son of Henri Matisse) and exhibited in his gallery in NYC. It is credited as being an inspirational object to artists of the 60's.

It states in the press release - "Here (meaning Matisse's gallery), the possibility exists that the artists may have seen the Baga Serpent on view at Matisse and responded to it". "Specifically, the exhibition of the Baga Serpent in Matisse's gallery may have had an influence on the creation of Alexander Calder's 'Short Lipped Snake' from 1973."

As many people in the group may remember, the Bamun headcrest from the Sotheby's auction last May from the Stanoff collection also had a link to modern artists of it's life after collection through only a splash of paint that linked it to being in Vlaminck's studio, where it was also likely seen by Picasso.

For those of you who are interested in reading about this type of connection, message 2180 in the group will give you some of the background of that object along with the following dialog from the group:

http://groups. yahoo.com/ group/African_ Arts/message/ 2180

With speci! al interest to a message from John Monroe to the group that talks about this relationship in more depth which I found especially interesting.

Message 2187 by John Monroe:

http://groups. yahoo.com/ group/African_ Arts/message/ 2187

The 14th annual New York Tribal and Textile Arts Show kicks off on Wednesday May 14th with a sneak preview from 6-9PM. The show runs from May 15-18th in a new location this year, Gramercy Park Armory.

The special exhibition this year is called "Cameroon 1931-1934: Photography of Paul Gebauer". Paul Gebauer has written several books on the art of Cameroon. The exhibition is curated by Jonathan Fogel (Tribal Magazine) and an article writte! n by Jonathan Fogel will be published in the show catalog.

For those of you who have never been, the Tribal arts shows like this are a fantastic place to meet dealers from around the world and you get to see and examine lots of great Tribal art all in one place.

Exhibitions in New York City in May -

"Artwork/Artplay: African Gameboards" - opend Aprill 22nd and runs through May. MORE INFORMATION

For those in Europe, BRUNEAF (Brussels non European Art Fair) is coming up soon as well, it takes place June 4-8.

Christie's and Sotheby's are also holding back to back auctions in Paris in June. The Sotheby's auction is June 11th and the Christie's auction is June 10th.

Cheers!

RAND

www.RandAfricanArt. com

www.DiscoverAfrican Art.com

www.RandTribal. com

Begin forwarded message:

From: Aldelor@...

Date: April 29, 2008 4:59:16 PM EDT

To: rukundo@...

Subject: Re: YORUBA and African Arts... George Harley

Thanks for your note...

Yes; the Mano mask is interesting; in-fact; the entire Sotheby's sale is quite good...   I am interested in Harley material because I have a full sized Dan mask with rare headress field collected by Harley before 1956 and a wonderful little passport mask that was acquired from Harley's widow in 1977; but collected in 1951...

So I have some vested interest.. :)

Thanks again,

Craig'

**************
Need a new ride? Check out the largest site for U.S. used car listings at AOL Autos.
(http://autos.aol.com/used?NCID=aolcmp00300000002851)

#3123

From: walberto <walberto285@...>
Date: Fri May 2, 2008 2:05 am
Subject: Re: Mystery mask

walberto285

This mask appears to be a Luba zoomorphic mask of the
type discussed in Felix's "Beauty and the Beasts".
The graphics of the mask are original. My guess is
that they are inspired by the facial markings of
certain species of monkeys endemic to Luba country.
Some varieties of red colobus and Diana monkeys sport
circular, light colored skin around their eyes and
black patches across their mid-face.   As wildlife is
a frequent theme in African art and in masking in
particular, a good bird book such as Princeton's
excellent handbook to the birds of West Africa and The
Kingdon Field Guide to Africa Mammals are, to my way
of thinking, are invaluable additions to any serious
African art library.

>   http://www.randafricanart.com/mystery.html



      
________________________________________________________________________________\
____
Be a better friend, newshound, and
know-it-all with Yahoo! Mobile.  Try it now. 
http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ

#3124

From: "prof_bill_watson" <prof_bill_watson@...>
Date: Fri May 2, 2008 2:24 pm
Subject: An interesting variation on the Nigerian E-mail scam

prof_bill_wa...

There is an email phishing expedition coming from a yahoo.com.jp server
from Ms. Coleman Sandra claiming that she has a security box in Cote
d'Ivoire labeled "African Artifices," which actually contains $12.5
million dolars. You can help her get a US visa to discuss sharing this
wealth.
A new use for African Art?

#3125

From: "M.E.F." <mfliegelmann@...>
Date: Fri May 2, 2008 3:26 pm
Subject: Re: An interesting variation on the Nigerian E-mail scam

mfliegelmann

This sounds like so many other variants of hoax coming out of Africa. A pity that a small number of crooks don't mind damaging the reputation of many. M

Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now.

#3126

From: "stellatebronze" <stellatebronze@...>
Date: Fri May 2, 2008 3:58 pm
Subject: DROUOT AUCTION MAY 15.2008

stellatebronze

Hello, can anyone tell me about the DROUOT tribal arts auction
scheduled for May 15? I have been trying to view the catalogue online
but I am having difficulty. Does anyone know this auction house? thanks.

Reply | Messages in this Topic (3)

#3127

From: Lee Rubinstein <LeeRubinstein@...>
Date: Fri May 2, 2008 4:14 pm
Subject: Re: DROUOT AUCTION MAY 15.2008

leerubinstein

Scott:

You can access the offerings from "Arts Primitifs: Collection Dominique Borde & � divers, vente le 15 mai 2008"��on-line through the Camard site at�http://www.camardetassocies.com/index.php?Message=2&SRub=25&GalerieID=75

Lee

On May 2, 2008, at 11:58 AM, stellatebronze wrote:

Hello, can anyone tell me about the DROUOT tribal arts auction�
scheduled for May 15? I have been trying to view the catalogue online�
but I am having difficulty. Does anyone know this auction house? thanks.

Reply | Messages in this Topic (3)

#3128

From: zawadi <zawadi4me@...>
Date: Fri May 2, 2008 10:08 pm
Subject: Re: Sotheby's/May 16: Bareiss, Harley, Blades, Ivories, Birds, Aquatic Creatures and Waterways

zawadi4me

Ed Jones..you have made my night!!!

Viola is amazing and her girls are the future of Senegal......

Anyone who wants to come to Dakar and meet Viola..please email me...we would love to have you!!!

Wendy

--- On Thu, 5/1/08, Ed Jones <bucit@...> wrote:

From: Ed Jones <bucit@...>
Subject: Re: [African_Arts] Sotheby's/May 16: Bareiss, Harley, Blades, Ivories, Birds, Aquatic Creatures and Waterways
To: African_Arts@yahoogroups.com
Date: Thursday, May 1, 2008, 7:30 PM

Hello Lee.

Aside from the typical beauties to be gazed upon and admired, none is more radiant than the works of Viola Vaughn and her "10,000 Girls" program in the Senegal ... thanks for sharing.

Kindest regards,

Ed

--- On Thu, 5/1/08, Lee Rubinstein <LeeRubinstein@ mac.com> wrote:

From: Lee Rubinstein <LeeRubinstein@ mac.com>
Subject: [African_Arts] Sotheby's/May 16: Bareiss, Harley, Blades, Ivories, Birds, Aquatic Creatures and Waterways
To: African_Arts@ yahoogroups. com
Date: Thursday, May 1, 2008, 4:01 PM

Thanks, Rand, for the information about the Sotheby's auction.

For those interested to learn more about the Bareiss collection and the current Bareiss offerings (among them Lots 157-167, 170-185, 187), see the '99 Holland Cotter article from when the collection was exhibited at the Neuberger (Message 1540). Also, the Sotheby's press release for the sale can be viewed at   http://files. shareholder. com/downloads/ BID/296107775x0x 190627/b8ba57f7- e434-4d33- 9593-d987663b306 2/190627. pdf

As Paisarn indicated, Lot 176 is indeed the Zula caryatid stool previously discussed (see Message 1542). The Bareiss Holo and Holo-Holo (157, 158, 159 and 160), and Songye material (170, 171, 172, 173 and 174) is particularly interesting and strong, as is the pre-Bembe figure, Lot 175. For enthusiasts of musical instruments, the East African lots begin with a zither attributed to the Kwere or Zaramo (Lot 179). Then, selected works from the Bareiss collection continue with some thrones before Lot 183 -- an elegant and alluring Utongwe-region Nyamwezi male figure, which was but one of two Utongwe-region figures in KILENGI, leading me to wonder about the disposition of the other, a female figure, and the rest of the Bareiss collection. Anybody?

In addition to the Bareiss offerings previously mentioned is the very recognizable Kamba figure (Lot 187) which appeared in "Africa: Art of a Continent" as did the Utongwe Nyamwezi and the compelling Makonde Helmet Mask (Lot 185). Based on the very interesting selection of works from the Bareiss collection (among the three collections from which works are featured), the "house" seem to be still moving cautiously with regard to the appreciation and market value attributed to Eastern and Southern African works.

More generally, I noticed particularly among the offerings the following lots and/or blocks of objects:

A nice array of knives and other bladed items beginning with Lot 61 -- A Lali Knife (DRC) and continuing though Lot 74 -- A Fon Sceptre. Also, don't miss the Holo adze (Lot 160) or Lot 191 -- a Zulu or Tsonga dance staff with blade! There is also a fine selection of very interesting objects in both elephant and hippo ivories beginning with the Luba Pendant and also including works from the Pende, Pinda, Mbala and Lega -- Lots 128 through 133 and then Luba-Songye and Chokwe (135 and 136), and then 140 (Kongo), 144 (Lega), 145(Lega), 146(Lega), 147(Lega), 148(Luba-Songye), 153(Luba or Hungaan, 154(Fang), and 155(Luba). There is also a Metoko figure carved from waterbuck antelope bone (Lot 177).

One item that stands our both for its beautiful form and its history is a marionette head collected by F.H. Lem, author of the important early publication Sculptures Soudanaises, whose collection served as a primary basis for the legendary collection of the Princess Gourieli aka Helena Rubinstein. (Why does that name sound so familiar?)
Lot 52-Bamana Antelope Marionette Head

Equally intriguing for its historical significance in the realm of 20th century ethnography and collecting is Lot 85, a Mano mask collected by George Harley. The catalogue notes reveal why this is so remarkable:

"The mask was collected by Dr. George Harley (1894-1966) who was a medical missionary in Ganta, Liberia from 1926-1962. During this time he acquired over one thousand masks from the region. A few hundred, particularly those collected before 1946, went to the Peabody Museum of Archaeology and Ethnology at Harvard University; others went to private collectors. Harley was not a professional art historian or anthropologist but acquired a lot of practical knowledge through his extended stays in Liberia. In 1941 he publsihed Notes on the Poro in Liberia, followed by his second book Masks as Agents of Social Control in Northeast Liberia in 1950. While much of the information Harley provided has been disputed by later scholarship, his information nevertheless builds much of the material foundation for our knowledge of Dan and Mano masks and their function within the secret societies. Harley was working and interviewing informants during a time when there was still a relatively strong memory of Poro society practices before they began to change under Western influence. See Wells (1977: 22-27) for further discussion."*

*i.e., Louis T. Wells, Jr., "THE HARLEY MASKS OF NORTHEAST LIBERIA," African Arts (Vol. X, Number 2, January, 1977).

  Lot 85 -- Mano Mask collected by George Harley

Another sub-agenda (always lurking...) that prompts me to highlight this mask is the important and lasting relationship that mark which Harley's involvement with the Liberian communities where he collected. To illustrate this point as well as to acknowledge continuing efforts to working together to stabilize the region and the world as a whole, see a 2005 article about recent activities at the Ganta Mission:

"During his busy day, Nyanti pauses to tell his U.S. visitors about George W. Harley, a missionary who came to Liberia from Durham, N.C., in 1926. Speaking with reverence, repeating the missionary's full name every time he refers to him, Nyanti tells the visitors that George W. Harley cut his way to Ganta through the bush when there were no roads, believing that God was calling him to serve in this remote community. The ministry George W. Harley began in 1926, Nyanti says, grew to become Liberia's most sophisticated mission, including one of Liberia's finest hospitals, until it was nearly destroyed by rebel missiles between June and August 2003. Nyanti tells his visitors that George W. Harley's ashes are buried beneath a stone monument outside the church building at Ganta Mission. The monument used to have a marker honoring George W. Harley, he says, but the rebels stole it." -- "Ganta Mission re-emerges after Liberia's civil war"

http://www.umc. org/site/ c.gjJTJbMUIuE/ b.957873/ k.E3F7/Ganta_ Mission_reemerge s_after_Liberias _civil_war. htm

On a somewhat related note... Allthough I see no specific detail regarding the initiative referenced, I think it worth pointing out that Lot 101 -- A Yoruba Epa Helmet Mask -- is listed as a "PROPERTY FROM A MIDWESTERN CORPORATE COLLECTION TO BENEFIT CORPORATE SOCIAL RESPONSIBILITY INITIATIVES" . Perhaps someone with the printed catalog could advise if there is more detail provided in the printed materials?

************ ********* ********* ********

Speaking of social responsibility, below is the inevitable next tangent on a tangent.

Newcomers to the group - and any of you who may have missed or overlooked it, please see the link from David Levine's recent posting regarding the upcoming publication about work he is doing in the Gambia and Sierra Leone and his related experiences in West Africa: http://toubabdoc. blogspot. com/. For information on other development initiatives in which group members are involved such as the Magic Penny and the Kambia Appeal in Sierra Leone, see Message 2296 or click the embedded links above. Also, although my web pages suffered a technical blow recently, you can view images from my recent endeavors in Senegal and Rwanda (alas, sans commentary) here.

Also, I would be delighted to introduce everyone to my friend and inspiration Viola Vaughn, who is the founder and director of 10,000 Girls -- a wonderful initiative with which I am involved in Senegal. Some of you may have learned about Viola through the recent CNN coverage about her and her work to facilitate educational and entrepreneurship opportunities for young women in Senegal on CNN:

http://edition. cnn.com/2008/ LIVING/04/ 10/heroes. vaughn/index. html#cnnSTCVideo

http://edition. cnn.com/2008/ LIVING/04/ 10/heroes. vaughn/index. html#cnnSTCText

************ ********* ********* *********

Now, back to the offerings:

Those who are intrigued by Lot 82 -- a Senufo Gameboard will also wish to make a special trip to the UN to see Artwork/Artplay: African Gameboards during the month of May, just a part of the "international photographic and art exhibition by and about indigenous artists coinciding with the 7th session of the Permanent Forum on Indigenous Issues taking place at UN Headquarters in New York". (Source: http://www.africana rt.org/exhibitio ns/.)

Although markedly different in style but staying in the realm of the Senufo, I find it interesting to note the concurrent appearance of this Senufo bird at Sotheby's as well as Lot 111 in the Lempertz auction this past week-end.

LOT 83 -- A SENUFO BIRD ...

************ ********* ********* ********* ****

In addition to the highlighted collections, I noticed two works being offered from the collection of Carl and Wilma Zabel, whose East African works were exhibited at the SMA Fathers Museum in Tenafly, NJ in 2005 as "The Discerning Eye: African Art from the Collection of Carl and Wilma Zabel" with an accompanying publication by Charles Bordogna. The Zabel lots are as follows:

Lot 86: Dan Ritual Implement

Lot 188 -- Tanzanian Magical Horn

So, there is another Dan object and one more Tanzanian lot offered in search of receptivity to the East African traditions.

And while touching back on the Western Guinea Coast, two other objects that intrigued me are Lot 88 -- a Bete Staff and  Lot 95 -- A Sherbro Figure ... -- the latter noted a propos the September, 2007 discussion pertaining to the "Favorite Wife" figure and the minsereh beginning with Message 2500. As you may note, William Siegmann, former curator of the African collection at the Brooklyn Museum who provides commentary for the offered Sherbro figure, makes reference anew to the frequent misapplication of the minsereh reference noted in Message 2505.



Before departing from the "Liberian hinterlands" and the catalog as well, there is one additional offered lot that I wish to highlight as an introduction to a very interesting article that touches upon another recurring theme in which I never seem to lose interest. Nor, should I say, do I think that it is a theme that should be ignored by anyone wishing to develop an understanding of the complex inter-relationships of African traditions and forms. I find Lot 96 -- Grebo Janus Crest remarkable for its strong resemblance to horned masks found in southeastern Nigeria. I recently came across (again, I think) a compelling article which explored the very important and too often overlooked historical interaction among peoples of the Western Guinea Coast and the regions of southeastern Nigeria. In "Commercial transactions and cultural interactions from the Delta to Douala and beyond," Rosalind J. Wilcox navigates this important, watery terrain, giving great impetus for further exploration of this intriguing aspect of African cultural, commercial, historical and stylistic interplay which, once recognized, re-appears constantly in comparative studies of forms from diverse geographical locales along the coasts and rivers of Western Africa! See particularly "Migration Patterns" on page 10 and "The Kru Connection" on page 11 of the linked on-line version. One can also access the article in African Arts Volume XXXV, Number 1 (Spring, 2002). Swim fast, don't doggie paddle to this article! For inspiration, see Lot 104 -- Ijo Fish Headcrest (below)... and then start thinking about Bidjogo, Mami Wata,... and the warming Atlantic! There is no law against reading while in your canoe.

Lee

On Apr 28, 2008, at 6:03 PM, RAND (www.RandAfricanArt. com) wrote:

Hi group -

I've been away from the group for a long time because I've needed to focus my time and energy on other things but I'm looking forward to becoming more active again now that things have finally started to settle down for me now.

I was happy to see that we're now at 500+ members in the group since it was launched in March of 2005!

May is an especially busy month in New York City in the Tribal art market...

In addition to the Bonhams & Butterfields auction that Lee posted a message about that is taking place on May 15th, Sotheby's is holding their spring auction on May 16th and the New York Tribal and Textile Arts Show opens on May 15th with a preview gala on the 14th.

The catalog for the Sotheby's spring auction on May 16th is now available online:

http://www.sothebys .com/app/ paddleReg/ paddlereg. do?dispatch= eventDetails&event_id=28794

Of special interest to me were the group of African objects being offered from the Bareiss Family Collection (31 in total), especially the East African objects being offered from the collection. The collection was published in the book "Kilenjgi: African Art from the Bareiss Family Collection". Overall I thought the auction had a lot of nice examples of various types of objects and they've done a nice job with the descriptions on a lot of objects.

Featured in the auction is a 'Magnificent and Highly Important Baga Serpent" (lot 58, estimate $1.5 - 2 million USD) that was collected in situ by art dealers H�l�ne& Henri Kamer in 1957. (H�l�ne Kamer later married Philippe Leloup and is more widely recognized by the name H�l�ne Leloup with galleries in Paris and NYC). It stated in the auction listing that several of the other Baga serpents the Kamer's collected during this trip are now in the collections of the Louvre, the Metropolitan Museum of Art and the Menil Foundation in Houston.

This particular object was sold in 1961 to art dealer Pierre Matisse (son of Henri Matisse) and exhibited in his gallery in NYC. It is credited as being an inspirational object to artists of the 60's.

It states in the press release - "Here (meaning Matisse's gallery), the possibility exists that the artists may have seen the Baga Serpent on view at Matisse and responded to it". "Specifically, the exhibition of the Baga Serpent in Matisse's gallery may have had an influence on the creation of Alexander Calder's 'Short Lipped Snake' from 1973."

As many people in the group may remember, the Bamun headcrest from the Sotheby's auction last May from the Stanoff collection also had a link to modern artists of it's life after collection through only a splash of paint that linked it to being in Vlaminck's studio, where it was also likely seen by Picasso.

For those of you who are interested in reading about this type of connection, message 2180 in the group will give you some of the background of that object along with the following dialog from the group:

http://groups. yahoo.com/ group/African_ Arts/message/ 2180

With speci! al interest to a message from John Monroe to the group that talks about this relationship in more depth which I found especially interesting.

Message 2187 by John Monroe:

http://groups. yahoo.com/ group/African_ Arts/message/ 2187

The 14th annual New York Tribal and Textile Arts Show kicks off on Wednesday May 14th with a sneak preview from 6-9PM. The show runs from May 15-18th in a new location this year, Gramercy Park Armory.

The special exhibition this year is called "Cameroon 1931-1934: Photography of Paul Gebauer". Paul Gebauer has written several books on the art of Cameroon. The exhibition is curated by Jonathan Fogel (Tribal Magazine) and an article writte! n by Jonathan Fogel will be published in the show catalog.

For those of you who have never been, the Tribal arts shows like this are a fantastic place to meet dealers from around the world and you get to see and examine lots of great Tribal art all in one place.

Exhibitions in New York City in May -

"Artwork/Artplay: African Gameboards" - opend Aprill 22nd and runs through May. MORE INFORMATION

For those in Europe, BRUNEAF (Brussels non European Art Fair) is coming up soon as well, it takes place June 4-8.

Christie's and Sotheby's are also holding back to back auctions in Paris in June. The Sotheby's auction is June 11th and the Christie's auction is June 10th.

Cheers!

RAND

www.RandAfricanArt. com

www.DiscoverAfrican Art.com

www.RandTribal. com

Begin forwarded message:

From: Aldelor@aol. com

Date: April 29, 2008 4:59:16 PM EDT

To: rukundo@mac. com

Subject: Re: YORUBA and African Arts... George Harley

Thanks for your note...

Yes; the Mano mask is interesting; in-fact; the entire Sotheby's sale is quite good...   I am interested in Harley material because I have a full sized Dan mask with rare headress field collected by Harley before 1956 and a wonderful little passport mask that was acquired from Harley's widow in 1977; but collected in 1951...

So I have some vested interest.. :)

Thanks again,

Craig'

************ **
Need a new ride? Check out the largest site for U.S. used car listings at AOL Autos.
(http://autos. aol.com/used? NCID=aolcmp00300 000002851)

#3129

From: "beardsley60010" <flshaw@...>
Date: Sat May 3, 2008 4:11 am
Subject: Unidentified Bronze Horsemen

beardsley60010

Please forgive my abundant ignorance, but I recently acquired a pair
of bronze horsemen, and I have not been able to identify them.  I
believe they are of African origin, but am not entirely certain of
that.  I have posted photographs of them in an album entitled
"Unidentified Bronze Horsemen."
(See http://ph.groups.yahoo.com/group/African_Arts/photos/browse/96b7)
They are approximately 18" high, 10"
wide, and 3" deep.  Any information that members of the
group may provide would be most appreciated.

#3130

From: "M.E.F." <mfliegelmann@...>
Date: Sat May 3, 2008 5:46 pm
Subject: Re: DROUOT AUCTION MAY 15.2008

mfliegelmann

The two "experts"* are just about the high priests in the field.. M

[*i.e., Experts : Monsieur Pierre Amrouche Monsieur Alain de Monbrison -- Lee]

----- Original Message ----
M

----- Original Message ----
From: Lee Rubinstein <LeeRubinstein@...>
To: African_Arts@yahoogroups.com
Sent: Friday, May 2, 2008 7:14:07 PM
Subject: Re: [African_Arts] DROUOT AUCTION MAY 15.2008

Scott:

You can access the offerings from "Arts Primitifs: Collection Dominique Borde & � divers, vente le 15 mai 2008" on-line through the Camard site at http://www.camardet associes. com/index. php?Message= 2&SRub=25&GalerieID=75

Lee

On May 2, 2008, at 11:58 AM, stellatebronze wrote:

Hello, can anyone tell me about the DROUOT tribal arts auction
scheduled for May 15? I have been trying to view the catalogue online
but I am having difficulty. Does anyone know this auction house? thanks.

Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now.

Reply | Messages in this Topic (3)

#3131

From: "seandocherty2005" <seandocherty2005@...>
Date: Sun May 4, 2008 12:27 am
Subject: Yaka Statue

seandocherty...

Hi group,

Im looking for some help in identifying the type of Yaka statue in the
following file:

http://ph.groups.yahoo.com/group/African_Arts/photos/browse/6636?c=

Thanks,

Sean

Reply | Messages in this Topic (1)

#3132

From: "M.E.F." <mfliegelmann@...>
Date: Sun May 4, 2008 6:33 am
Subject: Re: AUCTION... Skinner

mfliegelmann

The upcoming Skinner Auction seems a good one. I would go for 115, 114, 13, 145, 146...

It seems to come from just one collection. It is always nice when that is the case as there is a unifying factor. In this case I think the collector had an eye for expressive carving.

Good prices!

Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now.

#3133

From: Lee Rubinstein <LeeRubinstein@...>
Date: Sun May 4, 2008 2:12 pm
Subject: Re: AUCTION... Skinner auction -- May 10, 2008

leerubinstein

Lot 115: �African Cast Brass Animal

Margalit:

I agree with you on the allure of Lot 115. �What a wonderfully rendered and engaging figure!

More generally, the listings for Skinner Sale 2408 on May 10, 2008 can be viewed�here. (http://www.skinnerinc.com/asp/search.asp?zq=1?t=2508343&st=D&.) �African Lots -- which may come largely but not wholly from one collection -- begin with Lot 61 and run through Lot 152. �

Among the highlights is�Lot 150�-- an intriguing figure previously discussed in the group beginning with Message�2562. �

Lot 109�may be of interest to those who followed the discussion of Pende mbuya beginning with Florent's Message�2419. �What a "coiffure"! �(Also see Lots 102 and 103 a propos a Pende mask queried and discussed beginning with Message�2090.)��

Message�874�pertains to Baule Goli mask type and other Baule mask classifications, as offered in�Lot 90.

Once more, there are a number of ivory offerings and -- as seen elsewhere -- a flurry of Senufo offerings (lots 141-145 -- some among figures Margalit noted.) �Just �one bladed implement caught my eye: �Lot 62�-- a Salampasu (Sala Mpasu) sheathed example that might be comfortably grasped both physically and financially. �Also, of the offerings relevant to previous discussions which come to mind is the Temne female figure (Lot 148).

A quite imposing, even monumental, figure at 46+ inches (117 cm) that appears beautifully carved is�Lot 146, a Lobi female figure with child on hip. �Those with a predisposition toward Lobi aesthetics and/or a penchant for Colon figures, see�Lot 130.

With regard to walking sticks and staffs recently discussed, see�Lot 128�for a very nice snake-entwined staff with baboon-head finial. �Also in the grouping of staffs, don't overlook�Lot 125�for its remarkable finial figure or in the realm of the Senufo again a very striking brass and iron staff (Lot 126).

Although I would like to view it more closely and from a variety of angles, the "sleeper" in the selection -- for me -- is�Lot 85, which strikes me in its simplicity, surface wear and suggestion of the commonalities to be construed between forms from southeastern Nigeria and those of the western Guinea Coast. �Maybe it's just me and where my thinking is focused, but I do love the rubbed surfaces of the lips and the hat brim. �My hat is off to this particular mask, which could nicely watch over the equally delicious Kongo ivory quintet (Lot 78) and the Zulu snuff container offered as part of�Lot 71.

Lee

On May 4, 2008, at 2:33 AM, M.E.F. wrote:

The upcoming�Skinner Auction seems a good one. I would go for 115, 114, 13, 145, 146...
�
It seems to come from just one collection. It is always nice when that is the case as there is a unifying factor. In this case I think the collector had an eye for expressive carving.
�
Good prices!
M

Be a better friend, newshound, and know-it-all with Yahoo! Mobile.�Try it now.

#3134

From: "M.E.F." <mfliegelmann@...>
Date: Sun May 4, 2008 3:42 pm
Subject: Re: AUCTION... Skinner

mfliegelmann

13 = 113 (cut and paste http://www.skinnerinc.com/asp/fullCatalogue.asp?salelot=2408+++++113+&refno=++734150&saletype=)

----- Original Message ----
From: M.E.F. <mfliegelmann@...>
To: African_Arts@yahoogroups.com
Sent: Sunday, May 4, 2008 9:33:33 AM
Subject: Re: [African_Arts] AUCTION... Skinner

The upcoming Skinner Auction seems a good one. I would go for 115, 114, 13, 145, 146...

It seems to come from just one collection. It is always nice when that is the case as there is a unifying factor. In this case I think the collector had an eye for expressive carving.

Good prices!

Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now.

#3135

From: Lee Rubinstein <LeeRubinstein@...>
Date: Sun May 4, 2008 4:17 pm
Subject: Re: Unidentified Bronze Horsemen

leerubinstein

This is one of those responses where I can't -- and don't -- answer the question directly for more than but a moment then extend tangentially in hope of providing more fruitful directions.

While I am not familiar with the style of these equestrian figures which I presume to be fairly contemporary, there are a number of characteristics suggestive of African inspiration and possibly origin. �In addition to the serpentine details on the neck which appear in metal works from Mali to Cameroon, the styling of the seated human figure has similarities to Malian -- as well as Burkinabe and Ivoirian -- metal figures. �The relatively unfinished feet are evocative of both Dogon and Bamana metal figures, although the general characteristics are by no means consistent with the traditional metal sculpture attributed to either group. (Someone with more specialized knowledge of African metallurgy can chime in here...) � Based on the hat shape, I am guessing -- only guessing -- that the figures could be intended to depict persons or historical personages from among the Wodaabe, Fulani, Peul, Hausa -- any of the nomadic peoples of the Sahara... �I believe that �such head coverings are worn throughout the vast region. (OK, I think they are often called hats and broad brims are very appropriate for protection from strong sun...) �Traversing such a broad swathe of Saharan terrains, these groups -- both nomadic and settled -- are difficult to localize. �To the best of my knowledge, such casting is not largely produced by members of these populations themselves, so -- as is frequently the case throughout African contexts, it would likely be an extra-cultural portrayal of a more generalized historical or cultural image.

One site that gives a nice, extremely general �introduction to "Equestrian Sculpture" in Africa is here: �http://www.all-art.org/history550.html.

To give a little more detail about the role of the horse in West Africa, Michael D. Harris has written:

"Equestrian figures from the Senufo, Dogon, Bamana, and ancient Djenne have been collected indicating the significance of the horse in this region. The tsetse fly and the dense foliage of the forest belt prevented the horse and other draft animals from having a prominent role there, though equestrian figures emerged as an important icon in Yoruba art during the past two centuries, reflecting the significance of the horse in the Fulani and Hausa conquests that drove the Yoruba from Old Oyo. This form has come to represent notions of power, aggression, and prestige, and mounted figures most often represent warriors, kings, or, among the Yoruba, deities like Ogun or Shango. Today in Nigeria, Haiti, and Brazil, an orisha (�r�s. �) devotee in a state of possession is said to have been �mounted� by the deity."(In�African-American�Art Traditions �and Developments.)�

More specific treatments of the topic which might reveal instances and explications of symbolism that will help to identify your figure's inspiration include:

Gigi Pezzoli (ed.) Horsemen of Africa: History, Iconography, Symbolism (Milan: Centro Studi Archeologia Africana, 1995), 49-64. �(One of my favorite titles among the articles in this collection is�Barry Hallen's "'My Mercedes Has Four Legs!'" 'Traditional' as an Attribute of�African�Equestrian�'Culture'.")

Law, Robin, The Horse in West African History: The Role of the Horse in the Societies of Pre-Colonial West Africa, (Oxford and New York: Oxford University Press, for the International African Institute, 1980).

Among the most studied instances -- also highly stylized and expertly crafted -- of Equestrian Figures are those associated with the kingdom of Benin. �One article which treats the topic with great specificity and detail is Peter Karpinski's "A Benin Bronze Horseman at the Merseyside County Museum" in African Arts (Volume XVII, No. 2, February, 1984), pp. 54-62, notes on p. 89. �Also see comment from Joseph Nevadomsky in AA XVII, 4. ��Numerous fine examples can be found in many locales; among them are these:

Images above from 1) �Liverpool Museum; 2)�Detroit Institute of the Arts; 3)�Galerie Peter Herrmann.

In other traditions and media, see these African Equestrian Figures from the Metropolitan:

�4)�Metropolitan Museum (Yoruba-Ekiti), 5)�Metropolitan Museum (Senufo), 6)�Metropolitan Museum (Baule).

(Note: �All images copyrighted).

Clearly, this is not an exhaustive response or listing of relevant sources to explore. �Also clearly, the equestrian form is one which figures prominently in African imagery and history and is a wonderful direction for further study.

Lee

On May 3, 2008, at 12:11 AM, beardsley60010 wrote:

Please forgive my abundant ignorance, but I recently acquired a pair
of bronze horsemen, and I have not been able to identify them. I
believe they are of African origin, but am not entirely certain of
that. I have posted photographs of them in an album entitled
"Unidentified Bronze Horsemen."�
(See�http://ph.groups.yahoo.com/group/African_Arts/photos/browse/96b7)�
They are approximately 18" high, 10"
wide, and 3" deep. Any information that members of the
group may provide would be most appreciated.

#3136

From: "M.E.F." <mfliegelmann@...>
Date: Sun May 4, 2008 4:14 pm
Subject: Re: AUCTION... Skinner auction -- May 10, 2008

mfliegelmann

Lot 115: African Cast Brass Animal

Here is my revised list: 99,111,115,133,139

My wish list, M

----- Original Message ----
From: Lee Rubinstein <LeeRubinstein@...>
To: African_Arts@yahoogroups.com
Cc: Allene MURPHEY <amurphey@...>
Sent: Sunday, May 4, 2008 5:12:02 PM
Subject: Re: [African_Arts] AUCTION... Skinner auction -- May 10, 2008

Margalit:

I agree with you on the allure of Lot 115. What a wonderfully rendered and engaging figure!

More generally, the listings for Skinner Sale 2408 on May 10, 2008 can be viewed here. (http://www.skinnerinc.com/asp/search.asp?zq=1?t=2508343&st=D&.) African Lots -- which may come largely but not wholly from one collection -- begin with Lot 61 and run through Lot 152.

Among the highlights is Lot 150 -- an intriguing figure previously discussed in the group beginning with Message 2562.

Lot 109 may be of interest to those who followed the discussion of Pende mbuya beginning with Florent's Message 2419. What a "coiffure"! (Also see Lots 102 and 103 a propos a Pende mask queried and discussed beginning with Message 2090.)

Message 874 pertains to Baule Goli mask type and other Baule mask classifications, as offered in Lot 90.

Once more, there are a number of ivory offerings and -- as seen elsewhere -- a flurry of Senufo offerings (lots 141-145 -- some among figures Margalit noted.) Just one bladed implement caught my eye: Lot 62 -- a Salampasu (Sala Mpasu) sheathed example that might be comfortably grasped both physically and financially. Also, of the offerings relevant to previous discussions which come to mind is the Temne female figure (Lot 148).

A quite imposing, even monumental, figure at 46+ inches (117 cm) that appears beautifully carved is Lot 146, a Lobi female figure with child on hip. Those with a predisposition toward Lobi aesthetics and/or a penchant for Colon figures, see Lot 130.

With regard to walking sticks and staffs recently discussed, see Lot 128 for a very nice snake-entwined staff with baboon-head finial. Also in the grouping of staffs, don't overlook Lot 125 for its remarkable finial figure or in the realm of the Senufo again a very striking brass and iron staff (Lot 126).

Although I would like to view it more closely and from a variety of angles, the "sleeper" in the selection -- for me -- is Lot 85, which strikes me in its simplicity, surface wear and suggestion of the commonalities to be construed between forms from southeastern Nigeria and those of the western Guinea Coast. Maybe it's just me and where my thinking is focused, but I do love the rubbed surfaces of the lips and the hat brim. My hat is off to this particular mask, which could nicely watch over the equally delicious Kongo ivory quintet (Lot 78) and the Zulu snuff container offered as part of Lot 71.

Lee

On May 4, 2008, at 2:33 AM, M.E.F. wrote:

The upcoming Skinner Auction seems a good one. I would go for 115, 114, 13, 145, 146...

It seems to come from just one collection. It is always nice when that is the case as there is a unifying factor. In this case I think the collector had an eye for expressive carving.

Good prices!

M

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#3137

From: lokaart@...
Date: Sun May 4, 2008 1:38 pm
Subject: Re: AUCTION... Skinner auction -- May 10, 2008

aimeeloka

I note that Skinner's lot 115 is listed as 'Bobo (?)'. I have a similar item, bought from a reputable London dealer, which was classed as being Tussian. There is also another similar piece depicted on page 126 of Robbins & Nooter 'African Art in American Collections' (1989) which is also described as being Tussian.

Mike Yates