This wooden sculpture is from the Democratic Republic of Congo, Africa. A beautiful example of this kind of African art, this piece is earthy and natural looking.

This wooden sculpture is from the Democratic Republic of Congo, Africa. A beautiful example of this kind of African art, this piece is earthy and natural looking.   « Less

This exquisite amethyst stone weighing 23.26 carats has been sculpted in the dramatic image of a bison head and mounted in a stunning 24 karat gold ring. The name of this  More »

This exquisite amethyst stone weighing 23.26 carats has been sculpted in the dramatic image of a bison head and mounted in a stunning 24 karat gold ring. The name of this exquisite purple quartz crystal comes from the Greek word meaning "not drunk" as the stone was believed in Antiquity to keep the wearer sober no matter how much wine he might consume. All the great ancient civilizations valued the gem, which was particularly popular in Egypt for scarabs and in Greece and Rome for intaglio rings. Because of its wine-dark color and its use to prevent intoxication, many were carved with the head of the wine-god Dionysus. The oldest known stone in the Crown Jewels of England is an amethyst first worn in the 11th Century by Edward the Confessor. Even today, the rings of high-ranking ecclesiastics often have amethysts as their center stones. Many wonderful and therapeutic properties are ascribed to the gem: it can cure gout, it cleanses the body of impurities, it keeps the mind clear and alert and improves the memory, it gives the wearer pleasant dreams and keeps him immune from infection and contagious diseases. Because of its purple hue, amethyst is also said to have a soothing effect on the wearer, preventing outbursts of temper and making one generally amiable. It is also reputed to inspire creativity. Because it is a crystal, the energy level radiating from this translucent royal gem is particularly high, causing the wearer to feel wonderful both inside and out. This radiate amethyst is sculpted in the dramatic image of a bison head. Skillfully carved features emphasize the animal's large, elongated head, delicate eyes, small ears and horns. Finely carved striations depict the bovine's fur, enhancing the striking realism of this extraordinary miniature sculpture. Mounted in a beautiful gold ring setting, this magnificent amethyst is truly a masterpiece of sculptural art. - (FJ.5300)Origin: South Africa Collection: Modern Jewelry Style: Gem Stone Rings Medium: Amethyst, Gold   « Less

Wood, nice patina, black and red pigment, covered with intricate geometrical designs, combination of human and animal features, sagital crest, horned, thin nose and small  More »

Wood, nice patina, black and red pigment, covered with intricate geometrical designs, combination of human and animal features, sagital crest, horned, thin nose and small swollen eyes and mouth. Bobo’s masks symbolize animals or spirits and are worn during ceremonies associated with new crops, initiations and funerals. This genre of helmet mask, known as bolo (pl. bole), can only be worn by blacksmiths at important rites.Although both farmers and blacksmiths use wooden masks, only the blacksmiths have the power to make the masks. Blacksmiths maintain a unique position in Bobo society; they are considered supernatural men who possess associations with spirits and mysterious powers inaccessible to common citizens. Due to their intermediary position between the earthly and spirit realms, only blacksmiths possess the secret knowledge and strength to create a wooden mask and mediate its powerful forces. The Bobo have lived in the western region of Burkina Faso and in Mali as far back as 800 A.D. The Bobo tribe believes that every act that takes something from nature has a negative impact. Before planting and harvesting their crops they hold rituals to ask permission from the nature spirits and their creator god Wuro. They believe Wuro is responsible for nature’s equilibrium and for bringing everything into harmony. Their religious system involves restoring order through a series of offerings and rituals. Signs of use and damage. H: 37 cm (14 ½ inch). Literature: Bacquart, Jean-Baptiste (2010) The Tribal Arts of Africa. FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Wood, shiny patina, portrayed in a standing position of formal calmness, face and body with scarification marks, elegant coiffure. This figure served as a female spirit  More »

Wood, shiny patina, portrayed in a standing position of formal calmness, face and body with scarification marks, elegant coiffure. This figure served as a female spirit spouse, blolo bla, and its representation embody Baule ideals of beauty with elegant coiffures, scarification marks, and generous breasts. Baule people believe that every person has a spirit spouse. This spirit spouse has a great influence for good and evil in all spiritual and terrestrial matters. After earthly marriage, one night of the week is kept for sleeping with the spirit spouse, and earthly spouses may not sleep together. The carvings are kept very private, and are rarely seen. Fragmentary legs, missing parts, slight traces of abrasion., on wooden base. H: 26,5 cm (10 1/2 inch) Literature: Bacquart, Jean-Baptiste (2010) The Tribal Arts of Africa. FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Wood, fine aged surface and patina, vegetal fibbers, scarification marks on the cheeks and forehead, broad pierced oval mouth baring pointed teeth, with pierced, and  More »

Wood, fine aged surface and patina, vegetal fibbers, scarification marks on the cheeks and forehead, broad pierced oval mouth baring pointed teeth, with pierced, and fan-shaped headdress composed of rattan and feathers and fixed by a fiber braid, a woven fiber headdress attached to the reverse. Some damage and losses. The Cihongo mask represents a male spirit. It symbolizes power, virility, wealth and is sometimes used as a judgment mask. In ancient times Cihongo was danced only by the chief, one of his sons or nephews (son of the chief’s sister). H: 34 cm (13 1/3 inch) with coiffure. Literature: Bourgeois, Arthur and Rodolitz, S. (2003) Remnants of Ritual: Selections from The Gelbard Collection of African Art. Bacquart, Jean-Baptiste (2010) The Tribal Arts of Africa. De Areia, Rodrigues e Laranjeira, Manuel (2003) Chokwe and their Bantu Neighbours. FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Wood, fine patina and excellent surface, vegetal fibbers, finely carved, scarification marks on the forehead and face. The name of this mask means "woman" or Mwana Pwo  More »

Wood, fine patina and excellent surface, vegetal fibbers, finely carved, scarification marks on the forehead and face. The name of this mask means "woman" or Mwana Pwo “young woman”. It represents the ideal of feminine beauty and it is inspired in an ancestor. The mask also symbolizes the importance of the woman in the Chokwe tribe but most importantly it is a bond with the spiritual world of their ancestors. The sunken eye sockets and gaunt face are characteristics of this type of mask. It is danced at the end of the initiation ceremonies (mukanda). Its facial scarifications are believed to impart fertility to the spectators during its performance. H: 26, 6 cm (10 ½ inch). Literature: Bourgeois, Arthur and Rodolitz, S. (2003) Remnants of Ritual: Selections from The Gelbard Collection of African Art. Bacquart, Jean-Baptiste (2010) The Tribal Arts of Africa. De Areia, Rodrigues e Laranjeira, Manuel (2003) Chokwe and their Bantu Neighbours. FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Wood, spotty patina, blackened in parts, standing figure with armless torso, long neck carved with rings, crowned by fours horns arranged in pairs. Fante carve figures to  More »

Wood, spotty patina, blackened in parts, standing figure with armless torso, long neck carved with rings, crowned by fours horns arranged in pairs. Fante carve figures to worship living or dead people. Slight traces of abrasion, minor damage, on wood base. H: 30,5 cm (12 inch). Literature: Kunstverein Aalen e.V. (Hg.): Kunst der Akan, Ausst.kat., Aalen 1995, p. 40, ill. 156. FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Wood, nice patina, brass, remains of leather from old fur, convex eyes, curved cheek marks, chin with large quantity of old brass bells, powerful smiling mouth and forehead  More »

Wood, nice patina, brass, remains of leather from old fur, convex eyes, curved cheek marks, chin with large quantity of old brass bells, powerful smiling mouth and forehead scarification. The Wee, located in Liberia and Ivory Coast, use many masks to embody forest spirits, which they believe contact human beings through dreams.In these dreams the spirits demand to be physically manifested as masks, choosing either male or female forms. Wee carvers seem to have focused their skills on carving powerful masks to which objects such as bells, nails, feathers and cowries shells are added to reinforce the power of the masks. Signs of use. H: 36,8 cm (14 ½ inch). Literature: Bacquart, Jean-Baptiste (2010) The Tribal Arts of Africa. SOLD   « Less

Wood, raffia, white and coloured pigments, kaolin, oval face carved of classical form, exaggerated features, upturned nose, toothy mouth, most areas covered with white  More »

Wood, raffia, white and coloured pigments, kaolin, oval face carved of classical form, exaggerated features, upturned nose, toothy mouth, most areas covered with white pigment, superstructure with raffia ruff, and surmounted by a figure administering an enema. This type of mask, called Kholuka , is only used for circumcision and initiation rites, the nkanda. Three months before the ceremony, the carver, muumbwa, is formally invited to conceive the mask. He carves the Kholukain a field where offerings are made in honor of the ancestors (yipheesolu). The yipheesolu is strictly off limits for strangers, women, and non initiated males. After the mask is finished, the carver applies a mixture which will confer magic and protective elements to it. Pigment loss. H: 59 cm (23 inch) Literature: Bourgeois, Arthur e Rodolitz, S. (2003) Remnants of Ritual: Selections from The Gelbard Collection of African Art. Bacquart, Jean-Baptiste (2010) The Tribal Arts of Africa. FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less

Wood, shiny brown patina, depicted standing on a circular stool in a sign of high rank and status, the eyes inset with white miniature glass beads. “The Kaguru live  More »

Wood, shiny brown patina, depicted standing on a circular stool in a sign of high rank and status, the eyes inset with white miniature glass beads. “The Kaguru live directly west of the Luguru, and to the southwest live the Hehe. Because they lie midway between these important peoples on the coast and along the lake, and because their land lies astride the major caravan route between Lake Tanganyika and the Swahili coast, the Kaguru have benefited for centuries from a cultural mix that has influenced their own cultural traditions.” Minor damage to the base. H: 16,5 cm (6 ½ inch). FOR OBJECTS SENT TO EUROPEAN UNION COUNTRIES PLEASE ADD SALES TAX (23%).   « Less