Faces and the Human Form
Baulé Sika Blawa female figure, 20.3 cm H. carved wood, hammered gold foil, cotton indigo textile. Ex Ralph T. Coe Center for the Arts, Santa Fe, NM, Ex Ralph T Coe private collection (2005), Ex Taylor Dale (TAD) Gallery, Santa Fe, NM, Ex Private California Collection prior to November 2005.
Sika blawa female figure, H 27.62 cm. EX private Swiss collection, EX Collection Jean Paul Delcourt, Abidjan
Sika blawa female figure, H 35.5 cm. From the estate of René David. Exhibited: Musée International du Golfe de Guinée, Lomé, Togo (2005-2011)
Baule male figure, "waka sran" ("blolo-bian"), Côte d'Ivoire. Wood, textile, glass beads, pigment. H 15.5”. Ex Galerie La Reine Margot, Paris, France, Ex Paul Gnaegi, La Chaux-de-Fonds (1962), Ex Georges-Jacques Haefeli (1934-2010), La Chaux-de-Fonds (1984). Christian Zingg (1956-2023), La Chaux-de-Fonds, Switzerland (2020), Ex Hammer Auktionen 119, Switzerland.
Asante shrine figure of a ruler. Ghana. Wood, pigments, kaolin (white clay), gold leaf, steel. 21'' x 6.5'' x 6''. The ruler is depicted holding a sword (akrafena) with cut adinkra symbols and a gong. He is wearing a traditional abotire with protection amulets and Asante sandals. Akan wooden images of male chiefs are uncommon. Kaolin pigment has been rubbed around the eyes which associates the ruler with his divine connection to the supernatural, or closeness to the supernatural world through devotion and reverence. Additionally gongs are used to reach a state of trance for divination. From the estate of Allan Stone, New York.
Ebrié (Lagoons people) female figure (Nkpasopi) seated on a stool, Côte d’Ivoire. Wood, pigment, fabric. 25” H. Estate of Thomas McNemar (1931-2020). McNemar lived and collected throughout Central and West Africa in the 1960s and 70s. He established galleries of African Art in New York and San Francisco, selling to museums and public and private collections in the United States and Europe.
aule (Baoulé) equestrian figure, Côte d’Ivoire. 9.5” H. Objects that have been repaired are especially interesting to me. Some representations of an individual were intentionally destroyed- particularly the face and likeness of the person after they passed away so that the spirit wouldn’t remain with the object. I have an example in which the face was destroyed and a different face was carved and glued on in its place. Estate of Thomas McNemar (1931-2020). McNemar lived and collected throughout Central and West Africa in the 1960s and 70s. He established galleries of African Art in New York and San Francisco, selling to museums and public and private collections in the United States and Europe.
n Akan female figure, standing on a round base, wearing sandals. Ghana. H 11.5 inches. EX Bonhams, Ex private collection Long Island, New York
Fanta figure, Ghana. Wood. H 32cm. W 7cm. Standing female figures are common in West Africa and their symbolism and tasks are interpreted in many ways. In the matrilineal society of the Akan, self-confidence, grace, composure, dignity, stability, poise and many other qualities are among the qualities that should distinguish a woman. In addition to that, the woman stands upright on the ground with which she is deeply rooted. Closely linked to the central theme of motherhood are nutrition, the family and the survival of the clan or the state. In this context, the present sculpture was probably ritually worshiped and sacrificed in a shrine.
Akan figure. Côte d’Ivoire. This figure reminds me of my first experience in Côte d’Ivoire. I was eating dinner with an Agni villager close to the border of Ghana near Bondoukou. She stated that she didn’t go out at night because there were sorcerers in flying ships that abducted villagers from the trails. With that description, I immediately related it to the UFO experiencer phenomena. This little Akan figure definitely shares the resemblance so the memory and story lives on. Ex Estate of Madeleine and Jean-Jacques Keller (Abidjan until 1980, then Rheinfelden).
Asante Prestige figure, Ghana. Wood covered with gold foil. 19 cm. Images of figures that display weapons and arms emphasizes the strength of the chief and his people and their superiority and readiness for war. This figure’s attire holds strong similarities to the uniforms worn by Ghanaian soldiers of the Royal West African Frontier Force during WWI/ WWII. It possibly represents an individual of high standing in the community that wanted to commemorate this important accomplishment and status in his life. EX Galerie Walu, Zurich, Switzerland. Published: Lüthi, Werner & David, Jean (2009). Exhibition catalogue: Helvetic Gold Museum Burgdorf. Gold in West African Art. Zurich: Galerie Walu, p. 12 Exhibited: Helvetic Gold Museum Burgdorf (2009)
An Asante realistic scene from the large pool of Akan figurative illustrations, often referring to proverbs. This scene is of a blacksmith and his assistant shown at work. Wood, pigment H 37 cm. From the estate of René David (1928-2015), Zurich.
One of the rarer objects in the collection is an exceptional, fine Asante or Baulé “royal” gold weight or prestige object, Ghana/ Côte d’Ivoire. While gold weights are commonly cast in bronze, this special object of great prestige is cast in yellow gold. It was likely made by a master caster for a family of high status. It measures 6cm H and weighs 45 grams. The image is rare for this type of object- suggesting a portrait of a ruling family. A nude male sits with a nude female nursing a child. Notable details are the braided crown on the male’s head often seen in early Asante styles and the three tiered base of the Akan stool which the family sits upon. To add to the rarity and survival of such a piece is the fact that older gold items are frequently melted and recycled into newer fashions. EX Paul Tishman collection, by descent (NY). “Paul Tishman was often asked why he and his wife Ruth decided to collect African art. His simple reply: How does one fall in love?” Most of the Tishman collection was bought by the Walt Disney company in the mid 80s and in 2005, Disney donated all 525 objects in the collection to the Smithsonian National Museum of African art.
An Akan (Asante) “Akuaba” fertility figure, Ghana. Wood, 9.4” H (24cm). “The name Akuaba comes from the legend of a woman named Akua who was distraught at being barren, for Akan women desire above all to have children. She took her problem to a priest, who instructed her to commission a small wooden child (dua ba) from a carver and to carry the surrogate child on her back as if it were real. Akua was instructed to care for the figure as she would a living baby, even to give it gifts of beads and other trinkets. She did these things, but after a while was laughed at by her fellow villagers for her foolishness: "Akua, is that your child? Oh, look at Akua's child," they teased. With time the wooden figure became known as Akuaba (Akua's child). Eventually, however, she conceived and gave birth to a beautiful daughter, and her detractors came around to adopting the same measures to cure barrenness. "Akuaba" is now widely used by Akan-speakers not only for the well-known small figures but for all types of sculpture. Properly, though, it should probably be confined to those figures consecrated by priests who invoke the influence of their deity to induce pregnancy. A vehicle of spiritual power, the figure is carried by a woman for a stated period of time. In many cases, hopeful women adorn these figures with beaded hairstyles, waist beads, and earrings; they even suckle them and put them to sleep as they would a real child. “- Doran Ross #mooscollection ex Zemanek-Münster ex German private collection
An Akan (Fanta) “Akuaba” fertility figure, Ghana. Wood, glass beads, 26cm. “The name Akuaba comes from the legend of a woman named Akua who was distraught at being barren, for Akan women desire above all to have children. She took her problem to a priest, who instructed her to commission a small wooden child (dua ba) from a carver and to carry the surrogate child on her back as if it were real. Akua was instructed to care for the figure as she would a living baby, even to give it gifts of beads and other trinkets. She did these things, but after a while was laughed at by her fellow villagers for her foolishness: "Akua, is that your child? Oh, look at Akua's child," they teased. With time the wooden figure became known as Akuaba (Akua's child). Eventually, however, she conceived and gave birth to a beautiful daughter, and her detractors came around to adopting the same measures to cure barrenness. "Akuaba" is now widely used by Akan-speakers not only for the well-known small figures but for all types of sculpture. Properly, though, it should probably be confined to those figures consecrated by priests who invoke the influence of their deity to induce pregnancy. A vehicle of spiritual power, the figure is carried by a woman for a stated period of time. In many cases, hopeful women adorn these figures with beaded hairstyles, waist beads, and earrings; they even suckle them and put them to sleep as they would a real child. “- Doran Ross. Ex collection of Michael von Schenck (1931), Basel. 1980-1983 Swiss Ambassador in Ghana. Ex-Swiss private collection, Ticino
Asante fertility doll, "akuaba”, Ghana. Wood, glass beads. H 23.5cm. Ex Madeleine and Jean-Jacques Keller, Rheinfelden, Switzerland. Hammer Auctions, Basel, Switzerland. Christian Zingg (1956-2023), La Chaux-de-Fonds, Switzerland.
Figurative Slingshot, "potomowaka" Akan, Ghana / Côte d’Ivoire, Wood. H 17.5 cm. Estate of Madeleine and Jean-Jacques Keller (Abidjan until 1980, then Rheinfelden).
A very old and rare (because of the material) Baule double faced (Janus) heddle pulley from Côte d‘Ivoire, 15cm without base. It’s missing the inner wheel and spindle. Baule heddle pulleys are functional display objects used both as a tool on the loom to help ease the movement of the heddles when weaving, and also as display or prestige objects that demonstrates the carver’s artistic skill.
Another beautifully rendered Akan-Twi memorial head “Nsodie”, Ghana. Terracotta (partial missing sections). Height 8 3/4in (22.5cm). Although the portrait is an idealized representation, careful attention was given to the individual’s likeness and identity such as her elaborate hairstyle and scarification. “Since the late sixteenth century, Akan women potters have created ceramic heads and sometimes complete figures to commemorate deceased royals and individuals of high status. During the funeral, family members placed the terracotta portraits of the deceased in a sacred grove near the cemetery, sometimes with representations of other family members. These sculptures served as the focal point for funerary rites in which libations and food were offered to the ancestors.” Provenance: Arte Primitivo, Howard S. Rose Gallery NYC, Bonhams NYC, California Private Collection, L'Huillier & Associes, Paris, M. Letu Collection, France
An Asante memorial head (Nsodie) 19th c. Asante, Ghana. Terracotta. H 20.5 cm. Thermoluminescent age determination: 180 years (+/- 20%). This portrait feels like it has captured the individual’s likeness.
Akan-Twi memorial head "Nsodie", Ghana. Terracotta (partial missing sections). Height 6.25 in. Ex Robert and Nancy Nooter Collection, Washington, D.C.
A small Akan- Twi memorial head. Ghana. H 6" x 3" W. Elaborately modeled hairstyle and scarification.
Akan terracotta memorial head (Mma)(Nsodie), Ghana. Idealized heads were made by woman posthumously to honor and commemorate the individual after death. 7.5” H. Terracotta, pigment, break and repair at neck. Provenance: Howard S. Rose Gallery, NYC. From a private Florida collection by descent to grandson. Acquired from Parke-Bernet Galleries, Inc., NYC. June 19, 1968. Lot 195.
An Akan Ceramic Lamp , 19th century. Raised on a circular base. Human face features of the top “finial”. Called 'Abusua Kuruwa' for shrine/ancestors. Height 9 1/2 inches. Provenance: The Property of the Detroit Institute of Arts, Gift of Governor and Mrs. G. Mennen Williams. Gerhard Mennen "Soapy" Williams (February 23, 1911 – February 2, 1988) was the 41st Governor of Michigan, elected in 1948 and serving six two-year terms in office. He later served as Assistant Secretary of State for African Affairs under President John F. Kennedy and Chief Justice of the Michigan Supreme Court. Exhibited: Meadow Brook Art Gallery, Rochester, Michigan, February 1-March 3, 1968 Detroit Historical Museum, January 16-June 16, 1978 Wayne State University, July 1980-January 1981
Asante chief’s ring “mpetea”. Lost wax cast gold, Ghana. H 2.36”. One goldsmith in Kumasi named this ring as ahwehweba. Other people in Kumasi thought that it represented the proverb: Ti koro nko agyina. “One head does not make a council.” (There should be consultation when an important decision is to be made). Provenance: Galerie Walu, Zurich, Switzerland. Estate of Dr. Andreas Vontobel (1931-2011), Waltalingen, Switzerland
An Akan silver/gold alloy pendant with a very long multi link chain featuring a large depiction of a man picking cacao pods from a tree (321 grams). Size 74" L, pendant 4" H. Silver alloyed with gold is often referred to as "green gold". When it naturally occurs, it is called electrum. This pendant may not be pleasing to the western eye but it held a lot of prestige to the owner at a time when great fortunes were made from the introduction of Cacao in Ghana.
Two beautiful cast silver Akan pendants. Côte d’Ivoire. Radial sun motif— with a central ancestral mask. They are variants to the Akrafokonmu, or “soul washer’s” discs- often worn by individuals closest to the chief that are said to hold a part of the chief’s soul. Largest is 3” dia (7.62 cm). EX Christie’s, EX private American collection, EX Arts d’Afrique de la Collection de Madame Nelly van den Abbeele, June 12th, 2003 in Paris, EX Jan Dierickx, Brussels. Published: Bastin, M.-L., Utotombo, l'Art d'Afrique noire dans les collections privées belges Brussels, 1988, p.157, no.82. Exhibited: Arts d'Afrique, n. 456, Tervuren, 1963, ( large pendant) and Brussels, 1988, no.82 (large pendant).
A Baule Fly Whisk (Nandwa Blawa) from Côte d'Ivoire, wood, gold foil, fabric, horse-tail. This fly whisk represents an ancestor to honor the spirits, an ever-present theme in Baule art objects. Covered with gold foil, fly whisks like this example was part of the regalia of chiefs and dignitaries and are presented on public occasions as a sign of rank and status. As part of the sacred family heritage "aja", they are displayed in honor of the deceased during funeral ceremonies. EX Zemanek Münster, Germany. EX Private Collection.
A fly whisk made of an elephant tail is known as “mena”. Wood, covered with gold foil, elephant tail/ hair, textile. H 70 cm. “At one time elephant tail fly whisks (mena) were ubiquitious in the courts of many Akan chiefs. At the Asante Odwira festival of 1817, Bowdich observed “Elephant tails waving like a small cloud.” A photograph from the 1960s, taken as part of Kyerematan’s study for The Panoply of Ghana documents twenty-three elephant tail fly whisks in the regalia at NKoranza. Traditionally the whisk was a symbol of entitlement, the “heraldic badge” earned by the ɔbirɛmpɔn (big man) and conferred by the Asantehene. This title was given to the most successful accumulators of wealth and was held by the heads of the hereditary chiefdoms. In the Asante kingdom, only the Asantehene is allowed to possess a gold-handled elephant tail. There has been substantial speculation on the relationship between wealth and the elephant tail. Wilks considers it in relation to the proverb, “The elephant’s tail is short, but it is able to sweep flies away.” He goes on to explain: The sense is that the elephant did not allow the handicap of a short tail to prevent him from achieving preeminence...thus should the citizen sweep away all obstacles in his or hers pursuit of riches. The elephant tail or mena is the symbol in other words, not so much as wealth as such, but rather of the accomplishment and achievement which characterize the acquisitive process. (Wilks 1975,15).-D.Ross. Provenance: Galerie Walu, Zurich, Switzerland
This is an Asante State sword “afena” from Ghana with a sword ornament cast in 6K gold/silver alloy. The sword hilt is carved wood covered with gold foil. The iron blade has a sheath of ray and antelope hide (front/back). 72cm. The sword ornament (abɔsodeɛ) is an image that appears to be a Baboon eating a cricket or grasshopper. Two small men flank his sides with flint lock rifles. The meaning of this image most likely points to a proverb but more research is needed. Published: Blum, Rudolf (2007). Rudolf and Leonore Blum Collection. Volume 3 A. Zumikon: Self-published. No. 219. Provenance: - Galerie Walu, Zurich. - 1994: Rudolf and Leonore Blum (1919-2009 / 1923-2013), Zumikon. - Hammer Auctions, Zurich, December 3rd, 2016, lot 53. - Swiss private collection, Schwyz.
An Asante (Okyeame Poma) linguist staff finial. Wood, hammered gold foil and gold staples. The hammered gold sheet has been attached to the carved wood with gold staples. 9 1/2" x 4 1/2" x 3 1/2", c. 19th- 20th century (1890s-1920s). “The food is for the man who owns it and not for the man who is hungry.” Food here is a metaphor for chieftaincy, which is for the rightful heir and not for one who just hungers for power.” ex Allan Stone, NYC
An Asante linguist staff finial (okyeame poma) portraying two Asante warriors: one with a gun, standing on a powder keg and the other with an akrafena sword standing on the severed head of a fallen enemy. This could commemorate a localized battle or refer to a historic event in the Asante kingdom. More research and interpretation is needed. It’s still one of my favorite works in the collection. Wood, hammered gold foil, gold staples. 25.5cm H From the estate René David (1928-2015), Zurich. Exhibited: Musée International du Golfe de Guinée, Togo (2005-2011)
Asante linguist staff finial (ɔkyeame poma). Ghana, early 20th century. Carved wood, hammered gold foil. 15.5 h × 6.5 w × 6 d in (39 × 17 × 15 cm). A number of ɔkyeame poma represent messages of cooperative behavior within the state and between the chief and his subjects. For example two men helping each other with climbing a tree or working may represent a saying “If your intentions are good people will help.” Cooperation leads to success.
This is a beautifully carved Baule or Akan staff fragment with the bottom half section missing. Wood, covered with gold foil. 30” L (Côte d’Ivoire). It is most likely a chief’s staff or possibly a Baule variation of the Akan linguist staff. The staff finial is an idealized male head with strong Baule characteristics and similarities to the heads of the “blolo bian” spirit figures. Two wisdom knots often seen in Akan imagery alternate with geometric patterns down the staff’s shaft. The missing bottom half of the staff most likely continued this motif terminating with a tapered end.
This Asante Okyeame Poma (counselor’s staff) depicts a commonly seen proverb: “The food is for the man who owns it and not for the man who is hungry.” Food here is a metaphor for chieftaincy, which is for the rightful heir and not for one who just hungers for power. Ex René David (1928-2015) Zurich, Ex Jean David, Basel. H 161.5 cm Wood, gold foil.
An Ashanti linguist staff finial (okyeame poma). Ghana. The finial depicts a tree with one figure helping another to climb it. Ht. 16 in. It depicts the saying, "If you climb a good tree, you get a push," or if your intentions are good, people will help you." Ex Bonhams, Mass.; Ex Private collection, Baltimore, Maryland; Ex William Wright Gallery, New York City, 1994; Dr. May Weber collection, Chicago, Illinois
Akan cast gold pendant mask, Côte D’Ivoire/Ghana 9.70cm. From the estate of Olga Hirshhorn
Baule or Akan chief’s crown from Côte d'Ivoire. Fabric, wood covered with gold leaf. The chief crowns and other headwear, aside from the abotire are in the category “kye”. Similar to the abotire the entire top is enclosed and is covered with amulets made of wood and gold foil.
A Baule or Akan (Baoulé) “abotire” chief/dignitary’s head band—felt, fabric, wood, gold foil. Côte d’Ivoire.
Akan double-edged ceremonial sword, "afena", Côte d'Ivoire. Wood, covered with gold foil, iron. H 57 cm. Provenance: Estate of René David (1928-2015), Zurich. Exhibited: Musée International du Golfe de Guinée, Togo (2005-2011).
An intricately carved hilt of a Baule state sword displaying the talents of the highly accomplished artisan. Most of the gold foil is missing with slight gold foil remnants remaining. 42 inches L. Ex Bonhams San Francisco, Ex Estate of Phyllis Weinstein.
An intricately carved wood Baule fly whisk (nandwa blawa). The gold foil covering the carving is high purity. Here the typical horse tail hair is replaced with a whip woven out of hide. “Perhaps the most distinctively Baule items of regalia are the gold-covered horse-tail fly whisks (nandwa blawa). The handles of these symbols of authority are artistically elaborated far beyond anything the Ghanaian Akan produced. A lineage head or “chief” may have five to ten or more fly whisks. Garrard cites a Baule proverb that helps explain the whisks, “money (gold) is like a fly-whisk, a single person cannot catch it.” Today you may have money, but tomorrow you will be poor again (1993c,156). According to some, their function is less to drive away flies than to dispel evil spirits or “witchcraft”. The king is kept pure and protected from harmful forces through soft stroking by the whisk bearers. “-D.Ross. EX private New York City estate.
An Akan sculptural sword hilt carved of wood and covered with gold foil and gold staples. 23 cm. Ghana. The image consist of two heads on top of two gunpowder keg barrels- a reference to the power of the state and chief.
An exceptional Akan sculptural sword handle from coastal Ghana, Shama region. (Carved wood covered with heavy gold foil and gold staples). The image is of a lion standing on top of a fallen man. The proverb usually associated with this image is “When the lion captures the hunter, the gun is useless.” In most states the chief identifies with the lion, and the image is a symbol of victory with the implication that it is over superior forces. An alternate proverb for this image argues that “It is better not to have fired at all, than to have fired and missed the lion” (cf. Ross 1982a, fig. 3).” Here the message is more about the judicious use of power and exercising it with some care.“(D. Ross)
A beautifully carved Baule fly whisk, "nandwa blawa", Côte d'Ivoire. Wood, horse hair, textile. H 47cm. Fly-whisks are not used primarily as fly-whisks, but serve to drive evil spirits from the chief’s presence. EX Galerie Hilt, Balz Hilt (1931-1997), Basel, 1970. EX Sandro Bocola (1931-2022), Zurich.