African Folk Art

Ngaady aMwaash Mask. African Antique Folk Art Kuba Mask, originating from the Democratic Republic of the Congo. Property from a Private Collection. Acquired by a Norwegian Collector...

Decorative ebony well hand-carved African statue of a young women. Handmade in Kenya, Africa.

Tuareg rugs are made by the Tuareg tribes of Mauritania. They are decorated with stitched straw and camel embroidered leather. With their unique geometric d...

Carved hardwood mummy mask having a pink-brown painted ground, painted black eyes and brows. Wearing a black headband. Eyes and brows are restored. Scattere...

A Songye Male ‘Power’ Figure Open aperture to the head and stomach Fine overall patina, loss to feet Democratic Republic of Congo 19th Century Size: 23cm high - 9 ins high The ...

Carved wood standing female figure with projecting stomach, attached horn on top of head, and hair in form of small hand shaped copper pieces. Old glass beads...

Good of female Yoruba Ibeji Figures Finely carved in dense wood with linear decoration to the body Nigeria Period Early 20th century Size: 27 and 25 cm Condition: Good Fine...

Poto African sword, Congo Africa on stand. A forged iron sword with fine incised design, inlaid brass dots, overlaid brass strips, finely carved wood ha...

Striking Bembe bearded male bust figure with hands on sides of projecting stomach and finely carved beard. Stacking square hair style on top of head and projecting element hair on b...

Carved abstract mythological abstract antelope anteater headdress mounted on wood stand. These motifs symbolize excellence in farming and bountiful harvests...

The Borana Oromo people of southern Ethiopia and northern Kenya are historically a cattle-keeping culture, and each household keeps a number of traditional vessels for storing and ch...

Early carved wood small Salampasu Warrior's Mask, Zaire, Africa early 20th century, remains of black and white pigments, on custom stand. Mask 10", height on stand 14" strong angul...

African Ashanti Kente Cloth, hand loomed textile, ceremonial regalia worn by the tribe early to mid 20th Century

Yoruba people have one of the highest incidents of twin births in the world. As a result, twin children are regarded as extraordinary, divine beings protected by Sango, the deity of ...

Amazing and scarce JUDAICA object, we have here one of the most touching jewish objects we had for a long time, this small silver dowry box was made in Algeria in the early 19th century, it is all covered with symbols of jewish faith and of couples, the sliding lid has 2 flanking birds with hamsa (protective hand) on each side and a flower vase in the middle. one side shows two flanking lions with a tree in the middle and the other side shows again two big and two small birds with a flower bowl in the middle, front side has a key hole and next to it there is the Hebrew inscription ס״ט״" which says Siman tov or in English "a good sign" it is taken from the wedding blessing, underneath the lock there is another inscription with the name ״עזיזה בת אברהם בן חמו״ which is the name of the bride, her father and her grandfathers name. the box is full marked a lot of times with the silversmith mark, every side of the box is marked. this box was probably ordered by the grooms family to hold the jewelry they are giving to the bride as dowry, this type of objects are rare and there are just a few of them on museum collections. DOWRY (Heb. נְדֻנְיָה), the property a wife brings to her husband at marriage; the Yiddish equivalent, nadn, is from the same root. The custom of nedunyah became clearly defined and institutionalized only in the talmudic period. In biblical times, mohar (מֹהַר), whereby the groom bought his wife from her father (Gen. 24:53; Ex. 22:15–16; Hos. 3:2), was the accepted practice. It was then customary that the groom give the bride gifts, and that she bring certain property to her husband's home upon marriage: slaves, cattle, real estate, etc. (cf. Gen. 24:59–61; 29; Judg. 1:14ff.; I Kings 9:16). Evidence of the custom of nedunyah is to be found in Tobit (7:14; 8:21) and in the Assuan papyri (Cowley, Aramaic, nos. 15, 18). Gradually, mohar was superseded by the ketubbah custom according to which the husband merely assumed the responsibility of compensation to his wife in case he divorced her: he had to pay her 200 zuzim if she had been a virgin at the time of marriage, and 100 zuzim if a widow or divorcée (see *Ketubbah). By talmudic times, the institution of nedunyah was prevalent; the father gave a dowry to the bride since the daughter was excluded from paternal inheritance. Fifty zuzim (equivalent to the worth of 180 grams of silver) was the minimum amount a father was obliged to give to his daughter (Ket. 6:5). Parents usually gave much more, according to their social standing. Community funds provided the dowry for an orphan or a very poor girl (ibid.; cf. Sh. Ar., YD 251:8). In case of her father's death, the brothers of a minor girl were obliged to give her the minimum dowry, and the court estimated how much her father would have given her above the minimum dowry. The sum was then taken out of the father's estate and given to the daughter upon majority (Ket. 6:6; 68a–69b). In the absence of such an estimate, each daughter was entitled to receive one-tenth of the value of her father's estate in money, or in valuables (Yad, Ishut, 20:4–7; Sh. Ar., EH 113:4). If the father was unable or unwilling to pay the promised dowry at the betrothal ceremony, the groom could refuse to marry his bride (Ket. 13:5; Ket. 108b–109a). Insistence on exact payment of the promised dowry, however, was frowned upon by later rabbinic authorities (Rema to Sh. Ar., EH 2:1). In certain communities it was customary for the groom's father to make a dowry contribution equal to that of the bride's father (Ket. 102b). The dowry, whether given in real estate, slaves, money, or chattel was recorded in the marriage contract (the ketubbah) and in some instances one-third or one-fifth of the actual value of the dowry was added to the sum mentioned in the ketubbah. Based upon a decree enacted by *Simeon b. Shetah (first century C.E.), the Talmud ruled that the husband and his entire property were liable for compensation as stipulated in the ketubbah, either in case he died (when she collected the sum specified in the ketubbah from the heirs) or in case he divorced his wife (Ket. 82b). For the status of the dowry and the husband's rights and obligations, see below. The rabbinic enactments (Takkanot Shum) by R. Jacob *Tam and by the rabbinic synod of the communities of Speyer, Worms, and Mainz (Germany) stipulated that if a woman died...

A West African Senufo bed hand carved from a single tree having four tapered legs with a raised headrest and decorative scallop detail.

Tribal xylophone is an original design item realized in the early 20th Century. A rare xylophone entirely realized in wood. Working. A unique decorative object and at the same ...

Carved wooden sculpture depicting a woman sacrificing holding an offering bowl, Yoruba People, Nigeria, 1940s There is a small old chip on the top, please refer to the photos. The numbers are the inventory numbers from Pennsylvania State University and Lehigh University. Exhibited: The Pennsylvania State University - Museum of Art permanent collection; The Lehigh University - Art Galleries permanent collection and the Provenance: The collection of Dr and Mrs. John E. Swanson. Dr John Swanson and his wife Marian lived from 1966 - 1981 in Lagos, Nigeria where Dr Swanson was the Advisor to the National Universities Commission and later on the Chief Planning Officer of the University Of Ibadan, Nigeria. During their time in Africa the Swansons started to collect African art. In 1973 a part of their collection, circa 120 pieces went on loan to The Pennsylvania State University Museum of Art, where they remained until 1978. In 1981 Dr Swanson passed away and his wife Marian never returned to Africa. In 1982 Mrs. Swanson lent 130 pieces to the Lehigh University Art Gallery where they remained until 1987. A few pieces were also lent to Lafayette College...

A fine old Baule carving, with a rich golden brown surface patina.

African Lwalwa tribal mask enhanced with white pigment on the mouth and ears.

Moroccan vintage pedestal table, hand-painted on a dark maroon background color with floral and geometric designs in blue and yellow colors. Mor...

The Baule people of the Ivory Coast used ram masks in secular, public performances. Realistically carved, and wonderfully decorated, they were designed to draw attention and enhance ...

Very important “Nwantamtay” dance African mask, consisting of three sections: The upper in plain rectangular shape surmounted by a crescent shape moon, the middle with beautiful geometric triangles in black bitumen and white kaolin, surrounding a red cruciform in the centre of remarkable contrasting colors, and the lower part or face inscribed in a circular space that inspired numbered great artists like Joan Miro, Picasso and Henry Moore of a very strongly solar symbolism, with a projecting protuberance emanating from the forehead like a sculpted bird beak, that descents toward the mouth. Concentric eyes harmonize with the circular mouth, both with of elegant proportions. The whole mask exudes a supreme harmony and perfect balance rarely seen in this pieces. The back-side presents nice ware that attested the ancient origin and traces of animistic ceremonies as the use of animal blood residues. The painting of brown bitumen or cola, the natural colorants in red and ocher tones and the white kaolin are original and do not show any repainted or restored areas, giving a freshness rarely seen in old pieces. This exceptional mask Bwa, of the Hound`e Region in Burkina-Fasso, was used it the transit ceremonies and funerals manifesting the presence of “Do”, name given to their God sons, protectors and powerful spirits. The round face also represents an owl, the curving beak of the bird plants a seed into the sun, like a female sexual vulva being fecundated by the male organ; the eternal symbol of Ying and Yang, masculine and feminine, and the quest of life and death. This mask of Primitive facture can be compared to the one in the celebrated Verite Collection (this one being larger) sold in Paris at the Hotel Drouot, Saturday June 17, Lot 59, for 80,000 Euros and remarkably stands out from the Pierre and Tannia Matisse sold in Sotheby’s, New York in May 13, 2011. Another similar piece was published in: “Arman et l’art africain...

Malachite chessboard This chess game comes from Congo in the 1960s. Each piece is meticulously hand-carved from two exquisite, contrasting materials: gleaming malachite and luxurious...

African Art by Ngoy Kabem, Sadi M, Three Heads of Woman relief in Brass, 1979 African Art by Ngoy Kabem, Sadi M, With a scene of three heads of women in relief in brass Signed and...

An early to mid-20th century Toguna support post from the Dogon Tribe of Mali, on custom metal stand. This West African hand carved wooden bean was origin...

This mask dates from the late 19th to early 20th Century. Bamileke elephant masks, worn by the Kuosi society in Cameroon were elaborate beaded masks signifying wealth and power. The ...

African Art by MB Kasongo Banza Meso, L'Angoisse II, Brass Relief, 1977 MB Kasongo Banza Meso, Title: L'Angoisse II, in brass relief African Art, Signed and dated 1977 The frame wil...

Large sized Dan Mask ('Deangle', 'Dan Gle') from Côte d’Ivoire W.Affrica, circa early 20th century. To the Dan people, the 'Deangle' embodies the spirit of an individual ancestor d...

This large early Ashanti stool consists of an attractive support featuring a double-sided bird motif. The surface of the stool exhibits a rich, dark patina. Extensive use over the ...

Beautiful classic Chokwe mask genre that honours female founding ancestors. Such representations are particularly significant as the Chokwe trace the descent through the lines of their mothers. This is thought to be a dance mask with a net and wood hairstyle, from the Batshokwe people skilled in the art of carving and of very ancient origin belonging to the culture of the divine monarchy. The Batshokwe sculptors were the most famous in the region, masters in geometric decorations such as the depiction of scarifications and tooth deformations, the surfaces of their works were carefully smoothed and polished. On the forehead of the mask, the classic chinge-lyengelye scarification is clearly visible, commonly interpreted as a variant of the Portuguese cross...

Moroccan Berber tribal bracelet. Moroccan ethnic bracelet from the High Atlas of Morocco. Handcrafted by Berber women using Moroccan si...

Carved blackened wood horned antelope - human mask Dan People Ivory Coast, Africa. Two vertical horns probably representing a young antelope, large open round eyes and projecting li...

Strong Marka antelope - human wood mask with metal, Mali Africa. Large square open eyes, long nose with horizontal lips, three projecting brass metal braids ending with feathered cl...

Pair of very decorative large handcrafted Moorish, Spanish style ceramic urns planters from Fez, Metal handles, bottom and top adorned with embossed metal. Great decorative large ce...

African tribal art parchment wall shade sconce featuring a large triangle hide form stitched on iron and hand painted surface. These Moroccan art pieces could be used as wall lamp sh...

Nok Terracotta Standing Dignitary Figure in Royal Pose. I-II Century AD. Certificate of Authenticity with TL Test and Passport from Europe. Museum Piece...

Handcrafted Moorish Moroccan Bleu de Fez decorative ceramic Bowl, dish. Ceramic bowl in Bleu de Fez, very nice designs hand painted by artist in Fez. Geometrical and floral Moorish ...

Ancestral Senufo cast bronze face mask (Kpelie) from Côte d'Ivoire West Africa. Made using the lost wax technique. Traditionally, the 'Kpelie' is an ancestral mask worn during funeral rites, initiation ceremonies, weddings and births. The function of the mask is determined by the crest at the top of it's head and the subtle scarification markings it carries. The female mask will normally have a plug on it's mouth with the male masks having an open mouth and longer protruding jaw. It is believed that the mask itself embodies the spirit of the dead, hence the name 'Dead Face' The delicate attributes of this mask is a fine example of the excellent artistry of the Senufos. This is a male Senufo Mask...

Early 20th Century African Antique Wood Comb with Human Head From the Chokwe Culture of Angola. A fine, old, much used comb with a glossy, glasslike patina...

Set of three rare Fang carved wood spoons, from Gabon, Africa. Each with unique shape, wear and encrustings from traditional tribal use. They are in good condition, appropriate for...

This early 20th-century Yoruba Ọ̀sanyìn staff, meticulously crafted from wrought iron, features a prominent central bird surrounded by several stylized avian figures, symbolizing spi...

This exceptional Kota reliquary comes from the Mahogwe tribe, which lives along the Ogooué River in Gabon. The Mahogwe are part of the Kota ethnic group located in the northeastern r...

Beautiful Antique African Ewe Kente Cloth Textile, Country of Origin: Africa, Circa Date: 1900

Hand Carved antique African Moroccan burl wood large spoon. Large Moroccan ethnic folk art hand crafted and carved large cooking spoon. Great patina, rou...

Early Ghost Like Kumu Mask With Kaolin Open Eyes Mouth Teeth, Congo, Africa It is in good condition with wear, polish and erosion from traditional use, appropriate for its age, use,...

Handcrafted Moorish Moroccan blue decorative ceramic Bowl, dish from Fez. Moroccan ceramic bowl in Bleu de Fez, very nice designs hand painted by artist in Fez. Geometrical and flora...

A Rare and Extremely Fine South African Tsonga Prestige Staff by the ‘Baboon Master’ Depicting a Zulu elder wearing a head-ring Superb silky reddish brown patina Late 19th Century ...

Tuareg leather tribal camel saddle from Agadez, Niger Africa. Finely handcrafted camel saddle formed by stitching brightly colored leather embossed onto a forked wooden base. The sa...

Discover the soul of Africa through this authentic Salampasu mask from DR Congo, handcrafted in the mid-20th century. Part of a carefully curated collec...

Elegant old cedar wood sweet large Egyptian mummy mask, 13 Inches high. Soft weathered surface and great expression. Areas of chips, erosion and little bits missing, holes from insec...

Antique Kuba Shoowa Cut-Pile & Embroidered Cloth, DR Congo A graphically compelling example of a Kuba raffia fiber prestige cloth with cut pile and stitched embroidery. In very good...

Vintage Nupe of Nigeria thinly cast hollow bronze purse or container, probably created by the lost wax process with attached bronze bells and rings. Hollow with fine overlaid designs...

A Serene Vuvi Mask Wood, polychrome, pigment Gabon Early 20th Century Size: 28cm high - 11 ins high Provenance: Ex collection Bertil and Eva Berg, Gothenburg, Sweden Ex Privat...

Mumuye, Nigeria Iron 22.75 x 5 in. / 28 x 13 cm Height on custom display stand: 24.5 in. / 62 cm

African Tribal Art parchment wall shade sconce featuring a large triangle hide form stitched on iron and hand painted surface. These Moroccan Art pieces could be used as wall lamp s...

A Pair of Inkangara Prestige Baskets Rwanda or Burundi, Tutsi and Hutu peoples 20th century (1960s/1970s) Left H 13 ins (33 cm); D 7 ins (17.5 cm) Right H 13.5 ins (34...

On offer is a Lega Bwami society wooden mask from the Democratic Republic of Congo. It was likely from the first half of the 20th century and an authentic in-field piece. The mask di...

19th century hammer currency, Ensuba, Bafia People, Cameroon Sometimes referred to as potato masher currency, but known to the Bafia people as ensuba,...

A Powerful Baule Mask With rich dark ‘lacquered black’ patina, excellent colour with areas of ‘kaolin’ Wood Ivory Coast Early 20th Century Size: 32.5cm high - 12¾ ins high Prov...