African Furniture

Forming part of Luyanda Zindela’s ongoing series, Abangani bami / Izithombe zami (My friends / Images of me), these new works chronicle ordinary, intimate moments between the artist ...

Moroccan Rug, Mid-20th Century Additional Information: Dimensions: 3'5" W x 5'2" L Condition: Excellent

"Rana" Bronze platter by Jaimal Odedra, with handmade wood box. Each piece is sand cast by artisans in Morocco. Stamped: Jaimal Odedra. Weight: 2.3 kg

The Beni Ouarain confederation is composed of seventeen tribes inhabiting the northeastern portion of the Middle Atlas mountains in Morocco. Their rugs differ from other Berber weav...

The carpets of the Tuareg, who are cattle herding nomads inhabiting a vast expanse of the Sahara desert, are among the most exciting group of weavings to appear on the market. These ...

The rugs from the Azilal region, located in the Moroccan central High Atlas, have been a relatively recent discovery. Distinguished by abstract, quasi-calligraphic patterns often on ...

Marc van Rampelberg, freestanding writing desk, iroko, Kenya, 1980s. This solid Iroko freestanding desk is manufactured in Kenya and designed by the Belgian designer Marc van Rampe...

"Rana" bronze platter by Jaimal Odedra, with handmade wood box. Each piece is sand cast by artisans in Morocco. Stamped: Jaimal Odedra. Weight: 4.8 kg.

The carpets of the Tuareg, who are cattle herding nomads inhabiting a vast expanse of the Sahara desert, are among the most exciting group of weavings to appear on the market. These ...

Small Moroccan "Boucherouite" or Azilal rug. A Moroccan rag rug, woven with cut-up pieces of fabric from old clothes, etc. - boucherouite means rag or t...

The carpets of the Tuareg, who are cattle herding nomads inhabiting a vast expanse of the Sahara desert, are among the most exciting group of weavings to appear on the market. These ...

The rugs of the Beni Ouarain tribal confederacy differ from other Berber weavings in that they are woven almost exclusively on an ivory background and decorated with abstract geometr...

This magnificent gold bracelet was made for Ashanti royalty. The Ashanti Kingdom's wealth was significantly based on gold-mining and trading in gold, as well as agriculture. The ki...

The carpets of the Tuareg, who are cattle herding nomads inhabiting a vast expanse of the Sahara desert, are among the most exciting group of weavings to appear on the market. These ...

The Beni Ouarain confederation is composed of seventeen tribes inhabiting the northeastern Middle Atlas mountains in Morocco. Their rugs differ from other Berber weavings in that the...

The carpets of the Tuareg, who are cattle herding nomads inhabiting a vast expanse of the Sahara desert, are among the most exciting group of weavings to appear on the market. These ...

TSAVORITE GARNET Merelani Hills, Lelatema Mountains, Simanjiro District, Manyara Region, Tanzania 2.55 cm tall x 3.2 cm wide A variety of grossular g...

The carpets of the Tuareg, who are cattle herding nomads inhabiting a vast expanse of the Sahara desert, are among the most exciting group of weavings to appear on the market. These ...

VANADINITE ON BARITE Mibladen, Aït Oufella Caïdat, Midelt Cercle, Midelt Province, Drâa-Tafilalet Region, Morocco 12.7 cm tall x 14 cm wide The Drâa-Tafilalet Region of Morocco, best...

LIDDICOATITE TOURMALINE WITH QUARTZ Anjanbonoina, Antananarivo Prov., Madagascar 7.1 cm tall x 6.8 cm wide Liddicoatite is an uncommon form of tourmaline. It was first discovered in ...

A pair of monumental limestone sphinxes of Pharaoh Nectanebo I, from the processional avenue of the Serapeum of Memphis, 30th Dynasty, circa 379 - 360 BC. The sphinxes of the Serapeum have captivated travellers since Roman times. However, despite their significance, they are conspicuously absent from the collections of most major museums. Indeed, their existence in private hands is so improbable, and their imitations so numerous, that the present sphinxes were assumed to be modern copies throughout their recent ownership history. Finally recognised and conserved after an extraordinary chance discovery at a garden furniture sale...

Hand-carved cylindrical Bamileke wood stool with traditional intricate lattice pattern.

The Beni Ouarain confederation is composed of seventeen tribes inhabiting the high mountain region of the northeastern Middle Atlas, in northern Morocco. Their rugs differ from othe...

Usha Seejarim works with mundane, everyday objects that resonate with daily household rituals and women’s labour globally, reinterpreting these into sculptural forms. Clothing pegs a...

Ayotunde Ojo’s presented works chronicle intimate, domestic snapshots of the every day. Working largely in the mode of self-portraiture, Ojo renders the body in moments of respite an...

Exceptionally Fine Wooden Sarcophagus Mask Third Intermediate Period, 21st Dynasty, circa 1069-945 BC. Acacia wood, rosewood, hippopotamus ivory Masterfully carved from a single piece of fine-grained hardwood, the present mask is characteristic of the most exquisite funerary art made during the 21st Dynasty, and was probably commissioned for a particularly high-ranking individual. The oval face displays a gently smiling mouth with full, outlined lips, furrows at the corners and a bow-shaped philtrum. The straight nose with rounded nostrils, the cheeks full and fleshy and the large, almond shaped eyes with heavy lids and tapering cosmetic lines, set below long, sweeping eyebrows. Social collapse across the Mediterranean in the Late Bronze Age meant that the 21st Dynasty in Egypt was a period of great turmoil. Trade routes were disrupted, governments collapsed, and mass migration occurred. Economic scarcity meant that traditional funerary practices in Egypt were also affected, with a lack of material and financial resources leading to the reuse of preexisting material. As a result, during the 21st Dynasty, 19th and 20th Dynasty coffins changed ownership rapidly and were heavily recycled for new purposes. Tombs were also unmarked allowing them to be shared by many people. These new practices brought forth a shift in the understanding of funerary paraphernalia. No longer important objects owned forever by the deceased, they were now simply seen as short-term transformative devices, whose symbolic and ritualistic meaning could be appropriated for others. However, paradoxically, the art of coffin-making also reached new heights during this period, and many of the richly dec- orated “yellow” coffins, characteristic of the 21st Dynasty, are remarkable works of art in their own right. Indeed, knowing that coffins were being reused throughout Egypt, the Egyptian élite set themself apart by commissioning lavish sarcophagi decorated with the images and texts meant to help guide them to the afterlife, and which would otherwise have adorned the tomb walls. As coffins were the chief funerary element which now identified the dead and allowed them a physical presence in the world of the living, their quality and appearance were of the utmost importance. The traditional coffin ensemble was made of three parts: a wooden mummy cover, which laid directly atop the mummy, an inner coffin, and an outer coffin, both made of a lid and case. Additional decorative elements, such as masks, were carved out separately and later glued or pegged to the lids. After the completion of the painted decoration, the sarcophagus was covered in a varnish to give it its yellow colour. Gilding was sometimes used for the coffins of the high priests’ families, notably on parts representing naked skin, such as the face mask. However, some of the élite tactically avoided gilding altogether as to ensure that their coffin would not be looted. When manufacturing the inner and outer coffins, particular attention was paid to the woodwork. Displaying the skill of the carpenter, this type of funerary art has largely remained unparalleled throughout Egyptian history. The principal wood used to craft the present mask is Acacia nilotica. The evergreen Egyptian acacia was considered sacred and said to be the tree of life, the birthplace of the god Horus, as well as symbolic of Osiris, the god of the dead and resurrection. The modelling of the face in the wood is superb, but the inlays also help mark this mask out as exceptional. Inlaid eyes and eyebrows were extremely rare and reserved to the finest and most expensive coffins. Traditionally, eyes were made of calcite, obsidian, or quartz, and eyebrows of coloured glass paste or bronze. Here, the pupils, eyebrows, and cosmetic lines are inlaid with Dalbergia melanoxylon, a rare type of wood which belongs to the rosewood genus. In antiquity, however, it was known as Ebony of the Pharaohs, from the Egyptian word “hbny”, meaning dark timber, because of its black, lustrous appearance. An extremely dense and hard wood requiring significant skill to work with, ebony was a luxury material highly coveted by the pharaohs themselves, to make furniture, decorative and funerary objects. The wood was imported with great effort from the southern Land of Punt, most likely modern Sudan, Ethiopia, Djibouti, and Eritrea, alongside other luxury goods such as gold and ivory. A magnificent ebony throne, recovered in the tomb of King Tutankhamun, illustrates the incredible aesthetic potential of this material and why it was so highly valued by Egyptian royalty. Only élite members of Egyptian society could have afford- ed Ebony of the Pharaoh inlays for their funerary mask. The sclerae on the present piece were once both inlaid with hippopotamus ivory. Whiter than elephant ivory, this type of ivory is also denser, and more difficult to carve. The use of this luxury material, reputed for its gleaming appearance, enhances the lifelikeness of the eyes. For the Egyptians, hippopotamus ivory was imbued with magic powers. The hippopotamus was indeed both feared and venerated due to its aggressive behaviour. Whilst the male hippopotamus was associated with danger and chaos, the female was benevolent and invoked for protection, especially of the house and of mothers and their children, through the hippopotamus goddess Tawaret. Thus, not only was hippopotamus ivory used as an inlay and to make practical objects, such as combs and clappers, but it was also used to make talismans like apotropaic wands or knives. Made during a time of scarcity where few could afford made-to-order coffins, the present mask could have only belonged to one of the highest-ranking individuals in society. Undoubtedly one of the finest Egyptian coffin...

Woven by using exclusively recycled yarns of various type, ranging from cotton to lurex, Boucherouite Berber rugs represent a unique facet of Moroccan textile art...

An ‘imbizo’ is a forum or meeting called by a traditional Xhosa or Zulu leader, where important matters relating to the community or village are discussed. Maweni’s Imbizo design pieces are a modern-day version; a place for people...

The Beni Ouarain is a confederation of seventeen tribes inhabiting the high mountain region of the northeastern Middle Atlas, in northern Morocco. Their rugs differ from other Berber...

An ‘imbizo’ is a forum or meeting called by a traditional Xhosa or Zulu leader, where important matters relating to the community or village are discussed. Maweni’s Imbizo design pieces are a modern-day version; a place for people...

A rare Middle Atlas Berber rug from the Zemmour region, distinguished by the fact that it has pile on both sides- red in different gradations on the displayed side and orange in many...

The rugs of the Beni Mguild tribe, located in the Moroccan Middle Atlas mountains, are often distinguished by rich monochromatic tonalities, typically in shades of red or blue. These...

The Beni Ouarain confederation is composed of seventeen tribes inhabiting the high mountain region of the northeastern Middle Atlas. Their rugs differ from other Berber weavings in t...

The carpets of the Tuareg, who are cattle herding nomads inhabiting a vast expanse of the Sahara desert, are among the most exciting group of weavings to appear on the market. These ...

The Beni Ouarain confederation is composed of seventeen tribes inhabiting the high mountain region of the northeastern Middle Atlas in Morocco. Their rugs differ from other Berber we...

Azilal rugs woven with natural, undyed ivory and brown/black wool constitute the most renowned body of weavings for this area. Their popularity is due perhaps to their aesthetic affi...

Zindheks represent the most basic utilitarian weaving of Morocco's material culture. Woven with recycled and/or industrial fibers (more rarely with wool) by hooking the yarn through ...

Located south of Marrakesh, along the northern slopes of the High Atlas Mountains, the Ourika valley is known primarily for its covers in undyed ivory and brown wool depicting a moon...

Here, the surface is entirely covered by vertical and vaguely parallel black lines, which move organically across an orange-yellow background, just like drip painting on a canvas. Th...

Zindheks represent the most basic utilitarian weaving of Morocco’s material culture. Woven with recycled and/or industrial fibres (more rarely with wool) by hooking the yarn through ...

Upholstery COM or COL Dimensions Barstool: 21.3" W x 16" D x 29.1" H, 29.1" SH Counter Stool: 21.3" W x 16" D x 26.8" H, 26.8" SH

This cute little Azilal rug shows a directional pattern culminating into what appears to be the pot used to cook tagine, which is a traditional Moroccan dish...

Since the 13th century the Boujad region has been the epicentre of Moroccan Islamic mysticism, influencing greatly the Berber population of the area, who in turn embraced disciplines...

A very finely woven rug with an elegant, even surface depicting an arrangement of mixed ivory/brown undyed wool, with an effect similar to that of a zebra pelt. The background is emb...

A group of narrow runners with bold patterns and frequent use of recycled and synthetic fabrics appears to originate from the western foothills. Another example of long rug, originat...

At the 9th International Conference on Oriental Rugs, which gloriously took place in Milan in 1999, Mustapha Hansali presented his research based on field trips to the Azilal region....

An extremely fine pillow case from the Gafsa region in central Tunisia, exquisitely woven in wool with silk details, decorated by geometric motifs arranged along horizontal compartme...

Also belonging to the 'colored Azilal' subgroup is this sweet miniature rug, with its pattern of crenellated totemic devices, in which the weaver fully displays her ability to work o...

A very elegant and refined Berber weaving, composed of an honeycomb arrangement of ivory, chocolate brown and black squares contained within horizontal compartments. The extreme fine...

OKHA’s diverse design repertoire is keenly focused on purity of form and a high regard for noble materials, traditional artisanal and hand-crafted techniques. OKHA’s creative directi...

The carpets of the Tuareg, who are cattle herding nomads inhabiting a vast expanse of the Sahara desert, are among the most exciting group of weavings to appear on the market. These ...

The Beni Ouarain confederation is composed of seventeen tribes inhabiting the high mountain region of the northeastern Middle Atlas in Morocco. Their rugs differ from other Berber we...

OKHA’s diverse design repertoire is keenly focused on purity of form and a high regard for noble materials, traditional artisanal and hand-crafted techniques. OKHA’s creative directi...

Rugs named after the town of Boujad were woven by Arab or Arabised Berber tribes, who are principally located on the southwestern foothills of the Middle Atlas mountains, in a region...

Jan Ernst is a multidisciplinary creative specializing in functional art and spatial design using clay as his main medium. The work is driven by his fascination with natural structur...

Rare water hyacinths and teak screen /room divider decorated with 49 small teak windows

The Eye lamp was created as an imaginary creature that embodies the physical attributes of different life forms that fascinate me. As an artist, I often get lost in a make-believe wo...

An exquisite Benin bronze sculpture in shape of a bell depicting an Oba. Oba translates to "ruler" in the Yoruba and Bini languages of contempor...