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A Benalulua Mortar

In the form of a large crouching monkey with elongated arms bent and grasping the sides of the
cheeks, with a deeply carved face raised open mouth and deeply inset circular eyes, and wearing
a close-cropped coiffure, the scrolling ears set back on the head, fine and varied blackened
patina, 'EG' on the underside.

Kuba cup
D. R. Congo, late 19th-early 20th century
Wood, copper, porcelain
Height 9 1/4 inches

Bibliography: Cornet 1982
Titles and status in the elaborate Kuba court structure were signified by
prestige objects of handsome form and intricate detail, such as this vessel
used for drinking palm wine. The head shown on the cup bears delicate
geometric bands and a hatched coiffure, the small face is enhanced by a
copper strip and sweeping coiffure edges identified with the Ngeende
sub-style. Such cups were often carved to order by specialized artists.

Kuba (Dem. Rep. of Congo). A palm-wine cup,
nineteenth-twentieth century. Height 7-1/2" (19 cm).
Werner Forman Archive, London.

Visual puns are a prominent feature of many such cups.
Here a human head serves as a vessel. In other cases, an
image of an arm or hand is added to the handle, or the
vessel itself takes the shape of a stomach.




Kuba (Dem. Rep. of Congo). A palm-wine cup in the shape
of a drum, nineteenth century. Wood, height 7-1/4" (18.5
cm). Museum fur Volkerkunde, Berlin.

The royal drum depicted in this palm wine cup represents
a type known as bukit. A similar drum appears on the ndop
sculpture of King Kot a-Mbul, the warrior king who ruled at
the end of the eighteenth century.

Large statues representing hornbills, the mythological founder of the Senufo people, are used in the Lo and Poro society as symbols of
fertility. The figures were originally worn on the head during long dances and processions but are also carved standing on the ground and are
often well over 3 feet tall.. These enormous birds, called Setien or Porpianong, when carved to represent procreation have their long hooked
beaks touching their protruding stomachs that have been fertilized, therefore being the carrier of life and a symbol of continuity to future
generations. The wings are usually represented as a square board, often carved or painted with geometrical patterns.

Hornbills are noble birds; they mate for life and they share equally in the raising of their young who they protect by spreading their wings, thus
they tend to be depicted in their erect, protective stance. Figures of the hornbill are used in initiation, and groups of birds on a pole are used
as trophies for the best farmer.


Sources: A History of Art in Africa / Africa - The Art of a Continent / The Tribal Art of Africa / The Dance, Art and Ritual of Africa

Figure of a leopard chief: Chibwabwa Ilunga

Date:
19th–early 20th century
Geography:
Democratic Republic of the Congo, Western Kasai
Culture:
Luluwa peoples
Medium:
Wood (Trichilia gilgiana), cowrie shells
Dimensions:
H.: 30 3/8 in. (77 cm)
Classification:
Wood-Sculpture
Credit Line:
The Royal Museum for Central Africa, Belgium (EO.0.0.43848)

This artwork is part of Heroic Africans: Legendary Leaders, Iconic Sculptures

Figure of a leopard chief: Ilunga Mukulu

Date:
19th–early 20th century
Geography:
Democratic Republic of the Congo, Western Kasai
Culture:
Luluwa peoples, Bakwa Ndolo, Bumba
Medium:
Wood
Dimensions:
H.: 26 3/8 in. (67 cm)
Classification:
Wood-Sculpture
Credit Line:
The Royal Museum for Central Africa, Belgium (EO.0.0.43854)

Figure of a leopard chief

Date:
19th–early 20th century
Geography:
Democratic Republic of the Congo, Western Kasai
Culture:
Luluwa peoples, Bakwa Ndolo
Medium:
Wood (Vitex madiensis), pigments, metal, plastic
Dimensions:
H.: 26 3/8 in. (67 cm)
Classification:
Wood-Sculpture
Credit Line:
The Royal Museum for Central Africa, Belgium (EO.0.0.43845)

Figure of a leopard chief

Date:
19th century
Geography:
Democratic Republic of the Congo, Makabu-Buanga
Culture:
Luluwa peoples
Medium:
Wood
Dimensions:
H.: 29 1/8 in. (74 cm)
Classification:
Wood-Sculpture
Credit Line:
Ethnologisches Museum - Staatliche Museen zu Berlin, Germany (III C 3246)
Accession Number:
Portrait-Luluwa-03

This artwork is part of Heroic Africans: Legendary Leaders, Iconic Sculptures




Another view:

Memorial head

Date:
18th century
Geography:
Ghana, Twifo-Heman traditional area
Culture:
Akan peoples; Twifo-Heman traditional area, Ghana
Medium:
Terracotta
Dimensions:
H. x W.: 14 7/8 in. x 9 1/4 in. (38 x 23.5 cm)
Classification:
Ceramics-Sculpture
Credit Line:
Musée Dapper, Paris (2798)

Memorial head

Date:
18th century
Geography:
Ghana, Twifo-Heman traditional area(?)
Culture:
Akan peoples
Medium:
Terracotta
Dimensions:
H. x W.: 11 7/8 x 5 7/8 in. (30 x 15 cm)
Classification:
Ceramics-Sculpture
Credit Line:
Musée Dapper, Paris (2799)

Memorial head

Date:
ca. 1800
Geography:
Ghana, Twifo-Heman traditional area (?)
Culture:
Akan peoples
Medium:
Terracotta
Dimensions:
H. x W. x D.: 9 x 5 3/4 x 4 1/2 in. (22.9 x 14.6 x 11.4 cm)
Classification:
Ceramics-Sculpture
Credit Line:
Private collection

Clan vessel

Date:
20th century, before 1962
Geography:
Ghana
Culture:
Akan peoples
Medium:
Terracotta
Dimensions:
H. x W. x D.: 12 1/8 x 8 7/8 x 9 1/8 in. (30.6 x 22.7 x 23.2 cm)
Classification:
Ceramics-Sculpture
Credit Line:
Musée du Quai Branly, Paris (73.1962.8.21)

Memorial figure of a priest

Date:
18th–early 20th century
Geography:
Krinjabo(?), Sanwi
Culture:
Akan peoples, Anyi group
Medium:
Terracotta
Dimensions:
H. x W. x D.: 16 x 5 x 8 in. (40.6 x 12.7 x 20.3 cm)
Classification:
Ceramics-Sculpture




Not art, but an interesting photo:



His Highness Boua Kouassi, king of the Anyi

Date:
ca. 1910–15
Geography:
Côte d’Ivoire
Medium:
Postcard
Dimensions:
Overall: 3 7/16 x 5 7/16 in. (8.7 x 13.8 cm)
Classification:
Paper
Credit Line:
Holly W. Ross Postcard Collection

A large mmaso in the southern Anyi traditional area of Sanwi

Date:
ca. 1900
Geography:
Côte d’Ivoire
Medium:
Postcard
Dimensions:
Other: 3 1/2 x 5 1/2 in. (8.9 x 14 cm)
Classification:
Paper
Credit Line:
Holly W. Ross Postcard Collection

Agnibilécro-Kangah, chief of the Anyi

Date:
Early 20th century
Geography:
Côte d’Ivoire
Medium:
Postcard
Dimensions:
Overall: 5 5/16 x 3 7/16 in. (13.5 x 8.7 cm)
Classification:
Paper
Credit Line:
Holly W. Ross Postcard Collection

Memorial head

Date:
ca. 1800
Geography:
Ghana, Twifo-Heman traditional area (?)
Culture:
Akan peoples
Medium:
Terracotta
Dimensions:
H. x W.: 8 1/2 x 6 in. (21.6 x 15.2 cm)
Classification:
Ceramics-Sculpture
Credit Line:
The Kronos Collections

[img]http://3.bp..com/_NJj1gS1wEqs/S7oousTEZPI/AAAAAAAAE1I/zk3gPd1ckew/s1600/Akan+Gold+Mask+Pendant.jpg[/img]

Akan gold mask pendant

[img]http://1.bp..com/_NJj1gS1wEqs/S7oomYLrhgI/AAAAAAAAE1A/1P4LfLcf-d8/s1600/Akan+Gold+Sculpture+of+a+Water+Buffalo.jpg[/img]

Akan gold sculpture of a water buffalo

[img]http://art.missouristate.edu/arthist/IMAGES1/Ex4Photo24.JPG[/img]

Brass Goldweight: Antelope with Large Horizontal Horns

'Despite the stylized twist in the bodies of each of these two antelope figures, the Asante artist has captured accurately the impression of a resting antelope in each. The delicate facial features, the spiral twisting of the tiny horns, and the position of the tail illustrates sensitive observation of these animals. These figures may express one or both of the Asante proverbs: “When the antelope is unhappy, it is the hunter who is the cause,” and “Let the antelope rot in the hollow of the tree!” '

Brass Goldweight: Antelope with Large Horizontal Horns Asante culture 20th century (before 1985) Brass, L. 3.5 cm x W. .9 cm x H. 3 cm Stoneman Collection #1985.125A

The spambot banned QED so I'll post under MHD for a while.




(the coin is there to give an indication of the size of the object)



Akan Sword ornament, Abosode, mudfish or catfish

Abosode (Sword ornament) representing a mudfish
(adwene) or catfish (pitire).
Akan
Ghana
Copper Alloy (Bronze)
Length: 4.50”
Copper alloy casting of a symbolic motif used to embellish the sheath of a state sword called abosode reflects commonly held wisdom and affirms power relationships between rulers and ruled and their common duty to the kingdom. This large gold casting of a mudfish illustrates the artistry and craft of the Asante copper-alloy workers and goldsmiths. The hollow cast ‘bronze’ body of the abosode in the form of a mudfish would have had a wash of gold over it to appear as though it was cast in the more valuable metal. Often a casting would have red cloth stuffed into it to create a striking appearance, as the red color was visible through the various openings of the body. Mudfish are one of the most often seen symbols appearing on swords, on speaker’s staffs, or as umbrella finials and on rings. There are a number of proverbs relating to the motif of the mudfish with the most probable being that “If the mudfish in the stream grows fat, it does so to the advantage of the crocodile”. Stating that the mudfish prospers to serve the crocodile. One reading of the metaphor speaks of service, that of the people to the king and in response the king to the people and all serving the state.

Object References:
Kyerematen, A.A.Y., Panoply of Ghana, 1964.
Cole, H.M. and D. Ross, The Arts of Ghana, 1977
Mato, D. “Aspects; Akan Culture in Ghana”. 2002.

Akan Gold Ring of a Mudfish - CK.0256
Origin: Ghana/Ivory Coast
Circa: 19 th Century AD to 20 th Century AD
Dimensions: 1.125" (2.9cm) high x 1.5" (3.8cm) wide x 1.25" (3.2cm) depth
Collection: African Art
Style: Akan
Medium: Gold

$6,000.00
Location: United States

Description

In many cultures throughout the world, gold has been associated with status, power, prestige and wealth. As early as the 15th century, European merchants wrote about the richness of African gold objects used for adornment and intended for public display. Gold deposits were discovered in all regions of Africa, and became the most important commodity during pre- colonial times. The region of the Akan, spreading from the forest zone and costal areas of Ghana to the southern shores of the Ivory Coast, is the richest auriferous zone in West Africa. Several individual tribes make up the Akan people, the Asante and Baule being among the most famous, all united by their common ancestry and language. The royal courts of the Akan people were reportedly the most splendid in Africa. Oral tradition and iconography in Akan works of art are very closely connected. Verbal and visual symbolism tells stories or proverbs. Imagery of royal power on court ornaments carry out messages that helps keep the balance and continuity within the society.

Among some West African tribes, the mudfish is a symbol of the king, for just as the mudfish is able to move between the aquatic and terrestrial realms, the king is able to move between the world of the living and the world of the spirits. - (CK.0256)

[img]http://www.siue.edu/artsandsciences/art/galleries/ehrlich/img/martha010.jpg[/img]

Asante, Ghana

20th C.

State swordbearer's hat; rawhide covered with sheet gold with attached wood objects covered in sheet gold

[img]http://4.bp..com/_NJj1gS1wEqs/S7opdRcS9II/AAAAAAAAE1g/HJbXLPtPuAw/s1600/Akan+Gold+Ring+Depicting+a+Flower.jpg[/img]

Akan gold ring depicting a flower

[img]http://www.siue.edu/artsandsciences/art/galleries/ehrlich/img/martha019.jpg[/img]

Asante, Ghana
20th C.
State sword, openwork iron blade with hornbill, wood handle with traces of gold leaf

[img]http://www.siue.edu/artsandsciences/art/galleries/ehrlich/img/martha023.jpg[/img]

Asante, Ghana
c. 1700
Cast brass ring-top shrine spoon

Ornament, Asante people

Ornament
Asante people, Ghana
Before 1874
Gold
Museum no. 373-1874
Purchased by the Museum from an auction held at Garrard's, the London crown jewellers, in 1874

The natural gold available in Ghana made the Asante people wealthy and powerful. This ornament was part of their court regalia, which included textiles, ivory and gold. These regalia reflected high levels of skill and technology. Much Asante gold, including most of the pieces shown in this display, was taken as war indemnity by British forces following an invasion in 1874.

Badge

Badge
Africa
Before 1874
Cast gold
Diameter 3.75in 370-1874

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the 'Asantehene', the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles ('kente'), ivory and gold, reflected high levels of skill and technology.

This cast gold pectoral disc was worn around the neck by those responsible for the ritual purification of the Asantehene’s soul. The Asante call the discs 'Aakrafokonmu', usually translated as ‘soul discs’ or ‘soul washers’ badges’.

Following Asante efforts to protect a coastal trading outlet, British forces invaded the state capital Kumasi on 4 February 1874. The Asantehene, Kofi Karikari, fled leaving behind much precious regalia which was captured and later sold at auction at Garrard’s, the London crown jewellers. The Museum’s accession registers record the purchase of this and twelve other items of Asante gold and silverware from Garrard’s on 5 June 1874.

Badge

Badge
Ghana
Before 1874
Cast gold
Height 5.12 in x Width 4.75 in

Ornament

Ornament Africa Before 1874 Cast gold Height 2.62in x width 2.5in M.454-1936

Early European visitors to Ghana, West Africa, described dazzling displays of court regalia at the court of the 'Asantehene', the ruler of Asante state. The region’s natural gold resources had made the Asante wealthy and court regalia, which included textiles ('kente'), ivory and gold, reflected high levels of skill and technology.

This gold ornament in the form of a bird was made using the ‘lost wax’ method of casting. It has a perforated tang so that it can be attached, possibly to a necklace, sword or item of headwear. Asante ornaments often feature representations of birds, animals, humans or manmade items. Many refer to popular Asante proverbs.

Asante Brass Kuduo - PF.5928
Origin: Ghana
Circa: 19 th Century AD to 20 th Century AD
Dimensions: 9.75" (24.8cm) high x 7.5" (19.1cm) wide
Collection: African
Style: Asante
Medium: Brass

Kuduo were used in many ways by the Asante and Akan peoples. They held gold dust, cowrie shells, and other valuables; but could also be found in important political and ritual contexts. Some kuduo were buried with their owners, while others were kept in the palace shrine rooms that housed the ancestral stools of deceased state leaders. Life and the afterlife, the present and the past, were enhanced and made more meaningful by the presence of these elegant prestige vessels. This stunning kuduo is a masterpiece of Akan metalwork. The vessel combines the finest features of Akan artistry including the charming depiction of humans and animals derived from their gold weight tradition. The lid is crowned by a bird, wing spread open ready to fly. The spherical body of the vessel has been divides into four segments divided by grid-patterned bands that emerge from the top of the lid. These segments are decorated by representations of turtles (with alternating shell patterns) and humans (either sitting on the lid or standing on the body). The base is embellished by fish-like or reptilian creatures with tightly spiraled tails. Two serpents wind their way from the base to the upper lip of the body and serve as handles. Overall, these adornments probably relate to the rich Akan proverbial folklore. This stunning vessel was created to hold precious objects. However, the kuduo today is no doubt more of a treasure than anything it ever might have once contained.

Akan goldweight

anything from elsewhere in africa?