NIGERIA
Benin Head of King Oba, c. early to mid-20th Century
Lost wax cast bronze with a rich brown and black patina with light desert sand patina in some of the recessed areas.
The art of Benin is the product of an urban royal court, and is meant to symbolize and to extol the power, mystique, grandeur, continuity, and endurance of the ruling dynasty and its governing institutions. From the 14th century until its fall in 1897, Benin was ruled by the Oba, a divine ruler at the head of the political system of titled chiefs. Under royal support, a number of craftsman’s guilds produced bronze, brass, and wood sculptures and embroidered cloth, all of which have become prized by museums and collectors.
These heads were typically placed on altars dedicated to each of the past Oba’s of Benin. The altars are semicircular mud platforms that have been packed hard and rubbed smooth and are located in open courtyards of the palace. The royal altars are the settings for one of the two most important rites of divine kingship in Benin, Ugie Erha Oba, when the Oba honors the spirit of his late father and performs sacrifices to the royal ancestors and to the earth in which they are buried. Acknowledging his role as his fathers’ successor, the chiefs pay homage to the king and greet him in order of seniority. The rite expresses the continuity of divine kingship, and the altar before which it takes place provides the means by which the connection between the living king and his predecessors was established and made.
H: 14 1/2″ x D: 7 1/2″ x W: 8 1/2″
SOMALIA
Head rest early to mid 20th Century
Carved wood with rich natural patina
H: 4 3/4″ x W: 13″
Headrests are used by both Somali men and women while resting or sleeping. It is popularly believed that the headrest serves a protective function by elevating the head off the ground during sleep, thereby preventing any possible attack by snakes or scorpions. Men’s headrests, such as this one, generally feature a smaller base that makes them somewhat unstable to sleep on, while the rectangular bases of women’s headrests are usually more stable. Scholars suggest that this instability is purposeful as it prevents the user from falling into a deep sleep while guarding the herds at night. It is in this sense that the headrest itself has become a symbol of vigilance among Somali nomads. Headrests also play an important role in the nuptial ceremonies of Somali nomads. On his wedding night, the groom places the tubash (a sum of money) under the bride’s headrest. The morning after the marriage is consummated, the bride will use this money to purchase an amber necklace, the symbol of her new status.
Benin King Oba bronze standing figure, Nigeria, 20th Century
Lost wax cast bronze with a verdigris patina and a desert sand surface highlighting a rich brown patina.
H: 15″ x D: 4 1/2″ x W: 4 1/2″
The art of Benin is the product of an urban royal court, and is meant to symbolize and to extol the power, mystique, grandeur, continuity, and endurance of the ruling dynasty and its governing institutions. From the 14th century until its fall in 1897, Benin was ruled by the Oba, a divine ruler at the head of the political system of titled chiefs. Under royal support, a number of craftsman’s guilds produced bronze, brass, and wood sculptures and embroidered cloth, all of which have become prized by museums and collectors.
Ifugao Tribe Northern Luzon, Philippines
Side table/cabinet circa 1940.
Solid hardwood or ebony with an adzed surface, interior shelf.
H: 19” x W: 15” x D: 12”
SOLD
DONG OR MEOW PEOPLE Southern China
Spiral counterweight early 20th century
Handwrought silver (Dutch coin silver) with custom stand
H: 10 ¼” x W: 5 1/4” x D: 2 ¾” (dimensions on stand)
These beautifully dynamic spiral objects were worn on the back to support a ceremonial apron worn across the front.
CHINESE HILLTRIBE / DONG OR MIAO PEOPLE Southern China
Drum table mid 20th Century
Exotic wood with vellum drum top and button, decorative iron ring
mounts and patinated brass decorative nails.
H: 22 ½ x Dia top: 18” x Body Dia: 20”
Ceremonial Parrot Effigy Metate 4th–8th century
Guanacaste-Nicoya Costa Rica
Volcanic stone carved with Greek key type designs, openwork feather details and finely detailed bird’s head and beak.
A related Ceremonial Metate can be found in the Rockefeller collection of the Metropolitan Museum of Art.
H: 14″ x D: 12 1/2″ x L: 30 1/2″
NUPE TRIBE, Nigeria
Nupe stool, Nigeria early to mid 20th Century
Hand carved and decorated wood with a rich developed brown black patina.
This finely hand carved African stool was created by the Nupe tribe of Nigeria. The stool is carved from one piece of wood with intricate refined geometric patterns carved into the top and has seven tapered legs.
H: 12 1/2″ x Dia: 16″
AZTEC AD 1325-1475 Mexico.
Important stone carved sculpture of a coiled serpent, AD 1325-1475 Mexico.
***Two scientific authentication reports are available with this sculpture.
H: 10″ x D: 8″
The serpent played a very important role in Aztec religion and was represented in a variety of forms. The majority of the serpents represented in Aztec sculpture are rattlesnakes.
Mexican mythology indicates the snake is a symbol of veneration, worship and honor. Often a symbol of great power, resurrection and rebirth, the snake continues to be a powerful emblem of renewal and transition.
Further, the snake is recognized as a symbol of humanity as a whole. Interestingly, the Mexican perspective provides hope for mankind to aspire to great heights as it correlates the shedding of the serpent’s skin to man’s ability to change his own circumstances and overcome adversity.
The Aztecs build an impressive empire in the valley of Mexico. This thriving area, known as Tenochitlan, was the cultural, religious and trading center of Mesoamerica. Aztecs were the Native American people who dominated northern Mexico at the time of the Spanish conquest led by Hernan Cortez in the early 16th century. According to their own legends, they originated from a place called Aztlan, somewhere in north or northwest Mexico. At that time the Aztecs (who referred to themselves as the Mexica, or Tenochca) were a small, nomadic, Nahuatl-speaking aggregation of tribal peoples living on the margins of civilized Mesoamerica. Sometime in the 12th century they embarked on a period of wandering and in the 13th century settled in the central basin of México. Continually dislodged by the small city-states that fought one another in shifting alliances, the Aztecs finally found refuge on small islands in Lake Texcoco where, in 1325, they founded the town of Tenochtitlan (modern-day Mexico City). The term Aztec, originally associated with the migrant Mexica, is today a collective term, applied to all the peoples linked by trade, custom, religion, and language to these founders. Warriors and pragmatic builders, the Aztecs created an empire during the 15th century that was surpassed in size in the Americas only by that of the Incas in Peru. As early texts and modern archaeology continue to reveal, beyond their conquests and many of their religious practices, the Aztecs had many positive achievements: the formation of a highly specialized and stratified society and an imperial administration, the expansion of a trading network as well as a tribute system, the development and maintenance of a sophisticated agricultural economy (which was carefully adjusted to the land) and the cultivation of an intellectual and religious outlook that held society to be an integral part of the cosmos.
African Bronze “Tree of Life” Sculpture 20th Century
Sand cast bronze with a brown black patina with golden highlights in an open work design depicting 18 figures perched on a tree form with various intricate pattern details.
***As a Primitive / Tribal sculpture this piece visually relates to some of the sculpture and painting of the renowned French artist Jean Dubuffet.
H: 18 1/2″ x D: 4″ x W: 8″
AFRICAN / TRIBAL
CAMEROON GRASSLANDS
Stool 20th Century
Hand carved wood with a rich, well worn and developed brown patina, minimalist decoration with fine line incising. Very comfortable chair.
H: 12″ x W: 16″ x D: 10 1/2″
Benin King Oba bronze standing figure, Nigeria, 20th Century
Lost wax cast bronze with a rich brown and black patina with light desert sand patina in some of the recessed areas.
The art of Benin is the product of an urban royal court, and is meant to symbolize and to extol the power, mystique, grandeur, continuity, and endurance of the ruling dynasty and its governing institutions. From the 14th century until its fall in 1897, Benin was ruled by the Oba, a divine ruler at the head of the political system of titled chiefs. Under royal support, a number of craftsman's guilds produced bronze, brass, and wood sculptures and embroidered cloth, all of which have become prized by museums and collectors.
H: 20″ x W: 7 1/2″ x D: 7 1/2″