HELMET / MASK - TEMPLATES
wood, brown patina, encrusted in some areas, slightly dam., traces of insect caused damage, paint rubbed off, crack (left side of the head), base
Wood Liberia or Côte d'Ivoire Dan peoples 19th-20th century Metropolitan Museum of Art NYC
Kuba people, helmet mask (mukyeem), first half of 20th century, cloth, cowrie shells, glass beads, fiber, wood, fur, 17-1/2 x 18 x 15 in. Indianapolis Museum of Art at Newfields, Gift of Mr. and Mrs. Harrison Eiteljorg, 1989.1155. No Known Rights Holder.
Grasslands, Early/mid–20th century
Date: 19th–mid-20th century. Geography: Mali. Culture: Bamana peoples. Medium: Wood, sacrificial patina. Dimensions: H .8 1/4 x W. 11 1/8 x D. 40 5/8 in. ...
MAKONDE HELMET MASK 29
African Art
wood, pigments, insect caused damage, missing parts, rest., base This mask captivates by its size, the elaborately designed superstructure and the interplay of black and white coloured surfaces. In addition to openwork elements in the shape of bows and discs, it is crowned on each side by figures: a male figure with a rifle and a female figure with a child, each with separately worked limbs. Comparable helmet masks published in AHDRC 0156640 and 0095082.
Mende Helmet Mask 688
wood, red, black and white paint, typical form with undercut arched structure on the forehead, slightly dam. (nose), missing parts (helmet), rep. (both horn tips), abrasion of paint, base; the Baule people adopted “goli” between 1900 and 1910 from the Wan, a small Mande-speaking group related to the Guro. According to S. Vogel, the feather in the nose is meaningful in the Wan version of the “goli” dance, but seldom included by the Baule (Vogel, 1997, p. 174). “Goli” is a day-long spectacle that normally involves the whole village and includes the appearance of four pairs of masks, music played, and ideally, the joyous consumption of a great deal of palm wine. “Goli” can be performed both as an entertainment and for the funerals of important men. “Goli glen”, the senior male mask, is the second pair of masks to appear. It is said to combine antelope and crocodile features. It is distinguished from other “goli” masks by the playing of the “tre” horn during the dance. “Glen” wears a large antelope skin on its back and a fresh green palm-fiber cape, which takes several men a couple of hours to prepare and is very heavy to wear. He does a rapid, vigorous stamping dance that is rather wild-looking but never uncontrolled.
Wood, pigment, kaolin Gabon, Fang peoples 19th-20th century Metropolitan Museum of Art NYC
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The Izzi Igbo, who traditionally lived in the northeastern part of Igboland, annually performed Okperegede, a multiple-character masquerade "play". Masked ...
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Wonderful old Ibibio helmet mask.Part of the base has been removed but otherwise it is in good condition. Dimensions 50x30x30cm. Masks once used by the Ibibio for social control, now fill mainly educational or entertainment roles. Duality is the underlying theme or concept in Ibibio art as it is in the art of the neighbouring Igbo. Positive themes are characterised by regularity and harmony of features, negative principles by aggressive and distorted forms. 'African art in American collections,' Warren M Robbins & Nancy Ingram Nooter. www.facebook.com/photo.php?fbid=10150153 017536846&set... If you double click an image, click the actions tab then scroll to view all sizes you will be able to view large full size images Further information or more images of individual pieces please contact us with image number: Ann Porteus Sidewalk Tribal Gallery 19-21 Castray Esplanade, Battery Point 7004 Hobart Tasmania Australia [email protected] sidewalktribal.com t: 613 6224 0331 ABN 99 900 255 141
