16th Century Ceremonial Urn from Burkina Faso, Africa

A very pleasing Ciwara crest, singularly small and accompanied by its original headdress, depicting a stylized antelope leaning on a pangolin. The antelope is ridden by a woman, and white horsehair has been added to the tips of the horns. The piece is carefully sculpted, with notches decorating the bodies of the antelope and the pangolin. Rattan, plant fiber, cowries, wood Very fine velvety mat patina, Circa 1950 An animal called Ciwara is said to have taught the Bambara how to cultivate the land, and during agrarian ceremonies, they recall the myth through the stylized representation of an antelope whose name ci wara...

Objects crafted from the shell of the giant Tridacna clam, also known as the fossilized giant clam, held great value among numerous Melanesian peoples. The artistry of working with f...

Bamana N'tomo mask, Mali, 20th century "Generally surmounted by three to eight horns forming a comb, the N'tomoface mask refers to a moment of compulsory education given to uncircumcised young boys in certain West African societies. The mask's discreet, even absent, mouth emphasizes the behavior expected of them in their future adult life after training: controlling and measuring their words, knowing how to keep quiet, preserving secrets and enduring pain in silence." Excerpt from Masques du N'tomo, Marc Ladreit de Lacharrière Collection, Musée du Quai Branly Jacques Chirac, France. The Bambara, or Bamana, live in central and southern Mali. Their name means “unbeliever” and was given to them by the Muslims. Animists, they believe in the existence of a creator god called Ngala, who maintains the order of the universe and coexists with another androgynous god called Faro, master of the Word, who gave all qualities to mankind and makes the fruits of the earth grow. Traditional Bamana art objects are closely linked to agrarian rites. The Bamana dance these masks during initiation and circumcision ceremonies for young boys in the Ntomo society. The face, with its vertical outgrowths at the top, adopts geometric features beneath a rounded forehead, including an imposing busted nose, as the Bamana favor this organ in their statuary as it evokes sociability and clan cohesion. Indeed, during choreography, the dancer frequently touches the nose of the mask. As teaching aids for candidates, masks from societies accessible to young boys and adults, such as the N'tomo, Korè and Ci wara...

A set of thirteen kriss handles originating from Java, Indonesia, dating from the late 18th to early 19th century. Beautiful aged patina in dark or amber tones. Exquisite carving wo...

Sometimes called a "Bura bell" due to its shape, this sculptural terra cotta object was part of the Bura tribe's burial ritual. Buried with its flared mouth facing down, this cylindrical storage...

Probably 12th-15th century. Djenne from Mali (Africa), beautiful terracotta slip, collar ending in a flared lip, beautiful example. Tomb object from an ancient Djenne site. This ev...

Sometimes called a "Bura bell" due to its shape, this sculptural terracotta form would have been a critical component of burial rituals of the Bura people of Niger. Buried with its flared mouth facing down, this cylindrical storage...

Buried with their flared mouths facing down, these cylindrical storage vessels protected the deceased's possessions as they transitioned to the afterl...