David Malík African Art - Tribal Art London 2017 by David Malík African Art

D AV I D M A L Í K AFRICAN ART

Tr i b a l A r t L o n d o n

6 – 9 Sep t ember 2017

The Mall Galleri es

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1 PUNU MASK ‘OKUYI’ Punu Gabon Late 1800s - Early 1900s Wood, white kaolin 29.5 cm On customised stand Provenance: - Ladislas Segy Gallery, New York, USA - Zemanek Munster, Wurzburg, Germany - Allan D. Goodridge, New York, USA - Renaud Riley, Brussels, Belgium Published: - Zemanek Munster, Tribal Art Auction, 21 March 2015, Lot 363 ARTHKADE number RYN-073293

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2 PUNU MASK ‘OKUYI’ Punu Gabon Early 1900s, circa. 1920 (1912-28) Wood, white kaolin, yellow ochre, black dyed coiffure 36 cm On customised stand Soft oxidised wood, painted in black, white and yellow ochre, crowned by a fine grooved bi-lobed coiffure. Original ochre pigments on keloid scarification & mouth. Depicting an idealized female face, which is proved by the diamond-shaped keloid scarification patterns on forehead and temples, as well as by the hairstyle. A very stoic, sensitive and masculine work (of a feminie subject). This mask is a variation of the so-called ‘White Masks of the Ogowe’ and intuitively convergent (unrelated) with Japanese Geisha aesthetics. Laboratory spectroscopy dating: 95 years +/- 8 years Laboratory Museo d’Arte e Scienza, Milan, Italy. Dr. Peter Matthaes Provenance: - Reed Everson, California, USA - Philip Budrose, New England, USA - Budrose accession number S72 painted in pink inside mask (and the number 24258 painted in white inside mask of earlier origin) - Marc Assayag, Tookalook Inc., Montreal, Canada - Chris Wild, London, UK Published: - Bolz (Ingeborg), ‘Zur Kunst in Gabon’ in: Ethnologica, Neue Folge, Band 3, Köln, 1966:Pl.

Photo: Lemaire - ‘Zur Kunst in Gabon’ in: Ethnologica, Neue Folge (1966)

The Yale Van Rijn Archive of African Art number: 0022267

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3 BAMANA HYENA MASK ‘SURUKU’ Bamana (Bambara) Mali Early 1900s Wood, encrusted patina 31 cm On customised stand Provenance: - Keith Banks, London, UK then inherited by his family

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4 YORUBA BODY MASK ‘OMU’ Yoruba / Nago Nigeria Late 1800s - Early 1900s Wood, pigment, metal, hair 65.5 cm Provenance: - Prince Sadruddin Aga Khan, Geneva, Switzerland - Peter and Monica Wengraf, The Arcade Gallery, London, UK, and San Francisco, USA - Rudolf and Leonore Blum, Zurich, Switzerland Published: - Savary Caude, "Sculptures africaines d'un collectionneur de Geneve", Geneve: musée d'ethnographie, Geneve 1978:30, #13 - Sotheby's, London, The Prince Sadruddin Aga Khan Collection of African Art, 27 June 1983. Lot 12 The Yale Van Rijn Archive of African Art number: 0026721-01 Artkhade number: EUE-094569 D AV I D M A L Í K A F R I C A N A R T

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5 MALE STATUETTE ATTRIBUTED TO THE TABWA Luba - Tabwa, Tumbwe Democratic Republic of Congo Late 1800s - Early 1900s Wood, beads, pigments 33,5 cm The ovoid head with almond-shaped eyes, straight nose and protruding oval mouth is characterised above all by a headdress finely decorated with network of parallel ridges at the nape of the neck and bands of alternating triangles separated by two circular lines. The top of the head is sliced off horizontally revealing a large hole which may have contained sacrificial or magical substances. A dark blue bead necklace is tied around its powerful neck. The body and buttocks seem to carved in a single piece. The arms pressed against the body are drawn back slightly. There is a hole in the upper arms, probably to take a cord so that the sacred power figure could be carried. The lower part of the body may have been covered with a loincloth. The straight penis is a sign of fertility and the legs disappear into a circular convex base. The figure is standing, clasping its navel in a classical way. This archetypal position can be seen in many sculpture workshops spread over a crescent-shaped area. It is found among the Tabwa by Lake Tanganyika, then it spreads north and west into the territory of the Tumbwe, the Holo-Holo, the Bembe and the Boyo, becomes concentrated in the many Hemba workshops and then moves westwards among the Kusu and the Songye. Collected in situ around 1925 by Edouard d’Orjo de Marchovelette Provenance: - Edouard d’Orjo de Marchovelette, then inherited by his family - Didier Claes, Brussels, Belgium - Richard Carchon, Paris, France - Serge Schoffel, Brussels, Belgium Exhibited: - World Fair 1958, Brussels, Belgium (Exposition Universelle et Internationale de Bruxelles) Published: - Neyt, F., and Dubois, H., 2013, African Fetishes and Ancestral Objects, 5 Continents Edition: Milan

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6 SALAMPASU MASK Salampasu Democratic Republic of Congo Early - Mid 1900s Wood, metal, raffia 29 cm On customised stand Provenance: - Private collection, London, UK - Philips Auctioneers, London, UK Tribal Art & Antiquities, 20th September, 2000

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7 SALAMPASU MASK Salampasu Democratic Republic of Congo Early - Mid 1900s Wood, metal, raffia, pigment 37 cm On customised stand Provenance: - Private collection, London, UK

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8 KOTA RELIQUARY ‘MBULU’ Kota Gabon 51 cm Pre - 1930 Wood, metal On customised stand Wood covered with copper sheets of typical abstract form, bi-planar facial features, sickle-shaped coiffure, long neck merging to a rhomb-shaped handle. Exhibited: - San Francisco Tribal, Howard Nowes, Art for Eternity, 2010 Provenance: - Private collection, UK - Howard Nowes, New York, USA - Chris Wild, London, UK

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9 CHOKWE MASK ‘NGANGELA’ Chokwe Angola, Democratic Republic of Congo 24.5 x 17.5 cm Early - Mid 1900s Wood On a customised stand Round and flat hard wooden mask, colored with red pigment on the outside For a similar example see: Marie-Louise "Sculpture Angolaise, Memorial de Cultures", Lisboa, 1994, p.176 Provenance: - Christophe Evers collection, Brussels, Belgium - Jo de Buck, Brussels, Belgium

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10 LIMBA FIGURE Limba Sierra Leone Early 1900s Wood 24 cm On customised stand Provenance: - Private collection, Freetown, Sierra Leone

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11 NGERE MASK Dan, Ngere Ivory Coast, Liberia Early - Mid 1900s Wood, raffia, shells, textile, metal, hair, paint, pigment 25 cm On customised stand Provenance: - Owen Hargreaves, London, UK

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12 SHANGO STAFF Yoruba Nigeria Early 1800s - Early 1900s Wood 25 cm On customised stand Provenance: - Peter and Monica Wengraf, Arcade Gallery, 1994, London / New York, UK / USA - Harold Gray, Vermont, USA - Renaud Riley, Brussels, Belgium

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13 YORUBA MASK ‘GELEDE’ Yoruba Nigeria Early 1900s Wood 47 cm x 35 cm Provenance: - Keith Banks, London, UK then inherited by his family

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14 YORUBA MASK ‘GELEDE’ Yoruba Nigeria Mid1900s Wood, paint, pigment, metal 73 cm On customised stand Provenance: - Private collection, London, UK

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15 BAULE FIGURE Baule Ivory Coast Early - Mid 1900s Wood, beads, pigment 28.5 cm On customised stand Provenance: - Christie’s, London, UK - Private collection, UK - Woolley & Wallis, Salisbury, UK - Fred Hanley, Bournemouth, UK

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16 IGBO MASK Igbo Nigeria Late 1800s - Early 1900s Wood, encrusted patina, pigment 35.5 cm On customised stand Provenance: - Keith Banks, London, UK then inherited by his family

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17 TETELA / KUBA DRUM Tetela / Kuba Democratic Republic of Congo Early 1900s Wood, metal, raffia, natural rubber 100 cm x 54 cm Provenance: - Private collection, London, UK

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18 IGBO MASK Igbo Nigeria Mid 1900s Wood, polychrome paint 21.5 x 18.5 cm On customised stand Provenance: - Private collection, London, UK

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19 MANGBETU HARP

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Mangbetu Democratic Republic of Congo Late 1800s - Early1900s Wood, ivory, reptile skin 61 cm

Boende Democratic Republic of Congo Early - Mid 1900s Wood, textile, metal, raffia, animal skin, unknown substances 42 cm

On customised stand Provenance: - Private collection, UK - Cheffins, Cambridge, UK

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On customised stand Provenance: - Owen Hargreaves, London, UK

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Bembe Republic of Congo Mid 1900s Wood, porcelain, hair, textile 20 cm

Yaka Democratic Republic of Congo Early 1900s Wood 14 cm

On customised stand

Provenance: - Private collection, Paris, France - Private collection, Netherlands

Provenance: - Private collection, London, UK

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23 BAULE PULLEY Baule Ivory Coast Early 1900s Wood 20.5 cm On customised stand Provenance: - Keith Banks, London, UK then inherited by his family

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24 SENUFO PULLEY Senufo Ivory Coast Early 1900s Wood, metal 19.5 cm On customised stand Provenance: - Keith Banks, London, UK then inherited by his family

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25 LWENA STAFF Lwena Angola or Zambia Early 1900s Wood 83.8 cm (figure 21.3 cm)

The Yale Van Rijn Archive of African Art number: 0029671-01 Artkhade number: KLN-099204

Standing on top of the cylindrical shaft, the female figure with hands resting on the abdomen and wearing typical coiffure; 'FE8633' in white pigment at the bottom of the staff; exceptionally fine lustrous gold brown patina. Provenance: - Christies, London, UK - Marc Leo Felix, Brussels, Belgium - Fred Jahn, Munich, Germany - Walter and Molly Bareiss, Munich / New York, Germany / USA - Sotheby's, New York, USA - Leslie Sacks collection, New York, USA - Native, Brussels, Belgium Published: - Christies, South Kensington, London, Tribal Art, 28th June 1988, lot 109 - Roy, Christopher D., Kilengi: African Art from the Bareiss family Collection, Seattle, 1997, p.145 and 352, g.80 - Roy, Christopher D., Kilengi, Afrikanische Kunst aus der Sammlung Bareiss, Hannover 1997, p.149 and 356, g. 80 - Sotheby's New York, African, Oceanic and Pre-Columbian Art, 16 May 2008, lot 163 - African Art, from the Leslie Sacks Collection, Refined Eye Passionate Heart, Skira 2013, p.52 - Native, Brussels, African Art from the Leslie Sacks collection, 22 October 2016, lot 146 Exhibited: - Kilengi: African Art from the Bareiss Family Collection, Iowa City, The University of Iowa Museum of Art, 27 March-23 May 1999 - Kestner Gesellschaft, Hannover 30 August-19 October 1997 - MAK- Österreichisches Museum Für Angewandte Kunst, Vienna, 12 November 1997-18 January 1998 - Städtische Galerie Im Lenbachaus, Munich 8 April-5 July 1998 - The University of Iowa Museum of Art, Iowa City, 27 March-23 May 1999 - Neuberger Museum of Art, State University of New York, Purchase, 26 September 1999-10 January 2000 Roy (1997: 352, text to fig. 80) notes: "This is one of the most beautifully carved staffs from any of the Chokwe and related peoples in any collection. [...] The figure represents neither a female relative nor an ancestor, but a mahamba, or protective spirit responsible for the spiritual and physical well-being of the subject of the chief or king who owned the staff." See Bastin (1994: 145, fig. 168) for a closely related staff from the Museu Nacional de Etnologia, Lisbon (accession no. 'AO-332'). D AV I D M A L Í K A F R I C A N A R T

Photo Copyright: Courtesy of Christie’s, 1988

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25 LWENA STAFF (continued)

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Chokwe, Lunda, Lwena, and related ethnic groups of Angola, Zaire, and Zambia have used a great variety of staffs for purposes that range from the practical to the extraordinary. Whether staffs are used for physical support as walking sticks or as scepters signifying status and claims to political authority, they are usually figuratively carved and allude to cosmological creatures, human beings and ancestral spirits. Tortoises, chameleons, snakes and birds are often represented on staffs beside anthropomorphic figures, symbolic designs and decorative geometrical patterns. Abstract and figurative elements are incorporated into staffs to convey meaning, to make a statement claiming some form of legitimacy, or to suggest an affiliation with the supernatural; and the semantic field displayed by these objects will inevitably imply and instigate social reaction. (Jordan, 1994: 1)

Roy, Christopher D., Kilengi: African Art from the Bareiss family Collection, Seattle, 1997, p.145 and 352

It is believed that most types of figurative sculpture can be used as links with supernatural realms. Mahamba figures are used to venerate ancestors and to ensure the well-being of a family or village, but the same type of object can be manipulated by witches for evil purposes (’wanga’). The case of staff is similar, because displaying status by associating oneself with images of a dualistic nature suggests the possibility of secret negotiations with powerful hidden forces to which other members of the community may not have access (Roberts, 1986). Because chiefs and diviners are considered intermediaries between the world of humans and that of spirits, ancestors and the Supreme Being (Kalunga or Nzambi), it is believed that their staffs have been ritually charged with powerful supernatural forces. Although members of the community may speculate about the possibility of person’s walking stick being associated with magic, in this case of chief ’s and diviners this is considered a fact. (Jordan, 1994: 2)

”

From the book ‘Kilengi, African Art from the Bareiss Family Collection’ by Christopher D. Roy (1997), where the Lwena staff is illustrated on pages 145 and 352.

Christies, South Kensington, London, Tribal Art, 28th June 1988, lot 109

Sotheby's New York, African, Oceanic and Pre-Columbian Art, 16 May 2008, lot 163

African Art, from the Leslie Sacks Collection, Refined Eye Passionate Heart, Skira 2013, p.52

Native, Brussels, African Art from the Leslie Sacks collection, 22 October 2016, lot 146

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26 DOGON FIGURE Dogon Mali Mid - Late 1800s Wood, encrusted patina 17.5 cm On customised stand Provenance: - Carlo Monzino, Castagnola, Italy - Hammer Auktionen, Zurich, Switzerland

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27 MAKONDE MASK Makonde Tanzania Early - Mid 1900s Wood, hair, metal, pigment 24 cm On customised stand Provenance: - Private collection, UK

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28 BAULE FIGURE Baule Ivory Coast Early 1900s Wood, beads 33.5 cm On customised stand Provenance: - Private collection, UK - Bonhams, London, UK Published: - Bonhams London, June 21, 2000 Lot 44

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29 YORUBA IBEJI FIGURE Yoruba Nigeria Early 1900s Wood, metal, beads, pigment, offering remains 29.5 cm Collected by F. and G. Stoll in Lagos, 1965 Provenance: - F. and G. Stoll, Germany - Gert Stoll, Germany - Jens Nagel, Germany - Piet Dijk, Jipsinghuizen, Netherlands

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30 YORUBA TAPPER Yoruba Nigeria Late 1800s - Early 1900s Ivory 26 cm On customised stand Provenance: - Keith Banks, London, UK then inherited by his family

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31 PAIR OF YORUBA IBEJI FIGURES Yoruba Nigeria Early - Mid 1900s Wood, metal, beads, pigment, offering remains 26 cm and 27.5 cm Provenance: - Private collection, France

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32 YORUBA IBEJI FIGURE Yoruba Nigeria Early 1900s Wood, beads, pigment, offering remains 25.5 cm Provenance: - Private collection, Netherlands

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33 YORUBA IBEJI FIGURE Yoruba Nigeria Early 1900s Wood, beads, pigment, offering remains 24.5 cm Provenance: - Alain Chesne, Galerie Archaia, Lyon, France - Mr. & Mrs. Blaise, Hurigny, France - Piet Dijk, Jipsinghuizen, Netherlands

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34 YORUBA IBEJI FIGURE Yoruba Nigeria Early 1900s Wood, beads, pigment, offering remains 23.5 cm Provenance: - Private collection, Paris, France - Private collection, Netherlands

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35 PAIR OF YORUBA IBEJI FIGURES Yoruba Nigeria Early 1900s Wood, metal, beads, pigment, offering remains 22 cm and 21.5 cm Provenance: - Private collection, Mechelen, Belgium - Private collection, Netherlands

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36 BAULE FLY WHISK Baule, Akan Ghana / Ivory Coast Early 1900s Wood, gold leafs, textile, hair 28 cm + hair On customised stand Provenance: - Galerie Walu, Zurich, Switzerland

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37 AKAN FLY WHISK Baule, Akan Ghana / Ivory Coast Early - Mid 1900s Wood, textile, hair 33 cm +hair On customised stand Provenance: - Private collection, USA

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38 BAULE FLY WHISK Baule, Akan Ghana / Ivory Coast Early 1900s Wood, gold leafs, textile, hair 29 cm + hair On customised stand Provenance: - Merton D. Simpson, USA

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39 BAULE FLY WHISK Baule, Akan Ghana / Ivory Coast Early 1900s Wood, gold leafs, textile, hair 32 cm + hair On customised stand Provenance: - Merton D. Simpson, USA

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40 ZARAMO MALE FIGURE Zaramo Tanzania Late 1800s - Early 1900s Wood, beads, metal 76 cm On customised stand Provenance: - Andrzej von Staranburg Niedenthal, London, UK

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41 ZARAMO FEMALE FIGURE Zaramo Tanzania Late 1800s - Early 1900s Wood, beads, metal 59 cm On customised stand Provenance: - Andrzej von Staranburg Niedenthal, London, UK

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42 PAIR OF YORUBA MASKS ‘GELEDE’ Yoruba Nigeria Early 1900s Wood, pigment 27 cm and 28 cm On customised stand Provenance: - Keith Banks, London, UK then inherited by his family

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43 IGBO MASK Igbo Nigeria Early 1900s Wood, pigment 29 cm On customised stand Provenance: - Keith Banks, London, UK then inherited by his family

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44 ZARAMO FIGURATIVE STOPPER Zaramo Tanzania Early 1900s Wood 17 cm On customised stand Provenance: - Private collection, UK

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45 YORUBA MASK ‘GELEDE’ Yoruba Nigeria Early - Mid 1900s Wood, pigment 33 cm x 21cm Provenance: - Private collection, Bristol, UK

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BUNDU

46 BUNDU MASK Mende Sierra Leone Early 1900s Wood 38.5 cm On customised stand Provenance: - William Siegal Gallery, Santa Fe, USA

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David Malík is an African art researcher, adviser and collector whose primary interest lies in the field of contemporary African art as well as in the long standing art traditions of Western and Central Africa. David is currently completing his PhD research project in partnership with Victoria and Albert Museum (V&A) and School of Oriental and African Studies (SOAS University of London), where he is also teaching part-time. David also specialises in African art photography and his work is featured in various academic and non-academic publications.

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+44 (0)7864133452 david@davidmalikarts.com

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Photography: David Malík Design: David Malík, Jonathan Ewart Printed by: First Folio Design Ltd.

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