Caning Folk Art

Early to mid-20th century bamboo rooster effigy, Terai, Nepal. A charming rooster made from the root of a bamboo from the Rai people of Terai, Nepal. He stands 8" high and his form ...

A Group of Tutsi Prestige Basketry Rwanda First half, 20th century Grass and other plant fibers, natural dye, coiling technique Measures: Height, left to right: 7 1/4”; 8”; 9 1/...

An old tribal bag, originally meant to be carried over the shoulder or the back of a donkey. A very nice example with lots of details. Can be used in a variety of ways - wall hangin...

A mud cloth (Bogolanfini), Mali, Bamana People mid-20th century. Hand woven 'discharge dyed' cotton Approximately 71 x 52 in. (180cm. x 132cm.) A dazzling geometric pattern...

Kuba (Bushong) Raffia Fiber Textile Panel From Woman’s Skirt The Bushong people are one of the largest and most dominant ethnic groups within the Kuba Kingdom in the DR Congo, and h...

Figura tribal africana de origen, Senegal o Costa de Marfil

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 ...

Large dark reddish brown carved wood mask with underlying traces of red pigment, from New Guinea Sepik River Area. Strong downward looking expression, carved fringe edges. Signs of...

A striking 20th century Amazonian Shipibo pot hand-built from clay, decorated with wide red and orange lines, and glazed with the sap of a tree. Members of...

A very old wooden make-up box Circa: late 19th century Origin: DR Congo Very rich tribal aged patina and traces 9.5 x 15.5 cm, height 9 cm

This extraordinary 20th century Emberá-Wounaan basket is a testament to the remarkable craftsmanship of the indigenous Emberá-Wounaan people of Panama a...

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...