A small group of Caughley, circa 1782-1794, comprising two reinforced beakers or tea bowls in the 'Temple' pattern, unmarked, 6cm high; a teacup, also in the 'Temple' pattern, unmarked; together with 'Pagoda' wares, comprising a slop basin, Sx mark, 15cm diameter, two coffee cups, two tea bowls and two saucers; a 'Fenced Garden' tea bowl and saucer, unmarked and a fluted teabowl and saucer, decorated in cobalt gilt (14) Condition:Fenced tea bowl and saucer- minor gilt wear to tea bowl. Firing cracks to the underside of the saucer. Reinforced tea bowls - one with some gilt wear to rim. One smaller Fluted tea bowl originally had a gilt rim and this now almost completely gone, the other is just heavily rubbed. Gilt and blue tea bowl and saucer - hairline to tea bowl, minor gilt wear to the lobed rim. Saucer with chips to the foot rim. Slop bowl - gilding to rim 90% rubbed. Temple teacup with star crack to foot and crack to interior. No other damages or repairs.
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An assorted group of ceramics, including a Worcester 18th century fluted teacup and two orphaned saucers; Coalport 'Chantilly Sprigs' side plate, 17cm diameter; a small quantity of New Hall to include 'Trench Mortar' tea bowl and saucer, a pattern 1045 slop basin, 15.5cm diameter; an oval teapot stand, circa 1800, pattern 480, 17.5cm wide; a 'Boy in the Window' slop or sugar bowl, circa 1795, a cream jug, pattern 740 and two further tea bowls and saucers; other Coalport including a hand-painted mug, 'Blue Dragon' jug and an unfinished trio, an early 19th-century child's teacup and saucer, a Royal Worcester coffee cup and saucer; a Minton majolica teapot stand commemorating the coronation of Edward VII etc, Derby navatte-shaped dish, Dresden teacup and saucer etc ; (mixed lot, two trays)
Assembled English ceramics, late 18th and early 19th century, including a Worcester spiral shanked sucrier, two Spode imari plates, pattern 2283, 20cm and 24.5cm diameter, a delft blue and white dish, painted with flowers and a butterfly, 25.5cm diameter; Ridgway landscape dessert dish; Grainger's Worcester 'Gillyflower' bowl; Worcester spiral fluted slop basin painted with a sepia landscape to the interior; and thirteen orphaned tea bowls to include Worcester, New Hall and Wolfe Mason (qty)
A small group of Caughley, comprising a 'Full Nankin' dessert centrepiece dish, of melon shape with canted edges, Sx mark, 29.5cm wide; a 'Three Flowers and Butterfly' tea bowl and saucer, printed C with serif, saucer, 12cm diameter; and a group of blue and gilt wares, comprising a trio of coffee cup, teacup and saucer; a slop basin, a coffee cup and saucer, and an unusual 'Dresden Flowers' handleless cup, possibly a finger bowl, with matching saucer, a 'L'Amitie' saucer; two 'Temple' tea bowls and saucers (one repaired); a large cylindrical 'La Peche' tankard, printed C with serif mark, 13.5cm high; sold together with a large pearlware tankard, circa 1785 (qty)Provenance: Ivor Southorn Collection.Condition:Tea bowl and saucer - small glaze chip to tea bowl.Slop Basin - heavy gilt wear to the rim and interior.Tea bowl and saucer - Saucer with numerous stapled repairs.Pearlware tankard - badly crackedNo further damages or repairs.La Peche tankard - Three large rim chips and one associated crack.
A Coalport batwing tea/breakfast service in the rare yellow colourway, early 20th century, comprising six teacups, six saucers, six sideplates, a pair of cake or bread plates, a sugar bowl, slop bowl, cream jug and a muffin dish with cover, printed factory marks, printed Y.2480, T.Goode & Co London retailers marks (25 pcs including muffin cover)Provenance: Ivor Southorn Collection.Condition:Condition is generally good. The cream jug has crazing throughout and staining to the interior base, with a further small patch of discolouration to the spout. The sugar bowl is crazed throughout, slightly stained yellow and has a hairline crack descending from the rim. The slop basin has a V-shaped hairline to the centre of the base, with some light crazing. All of the teacups have crazing to the handles, two of which also have crazing to the exterior of the cups.
A Coalport tea service, late 19th century, transfer-printed in blue with classical portrait cameo medallions suspended from floral swags, of fluted form, comprising twelve teacups, eleven saucers, twelve sideplates, pair of bread and butter plates, cream jug and sugar bowl/slop basin, printed factory marks (39)Provenance: Ivor Southorn Collection.Condition:Condition is generally good. One of the larger circular plates is crazed throughout and slightly stained yellow. A couple of cups and saucers are also crazed, but none too disfiguring.One cup has two small foot rim chips, another cup is stained yellow and has a further foot rim chip. The slop/sugar is crazed throughout.No further damages or repairs.
An assorted group of Coalport, comprising an early 19th century slop basin, painted with birds and flowers, a blue batwing miniature cream jug, sugar bowl and oval pin dish, a small blush ivory basket decorated with flowers, a plate painted with a view of The Wrekin from Garmston by Percy Simpson, artist signed, 22cm diameter; a limited edition 'Ironbridge' plate by J. Mottram, with certificate; sold together with a Wedgwood plate, a Crummels English Enamels pillbox with a view of the Ironbridge and another of the Liverpool and Manchester Railway, both boxed etc Condition:Birds bowl - cracked, rim chipped Meat platter, circa 1805-10 - some rubbing to flowers Miniature basket- some crazing to glaze One of the pair of blue floral plates - crazing to glaze No other damages or repairs
A Chinese enamelled porcelain Mandarin pattern water bottle (guglet) and basin, Qianlong period, painted with court figures in a garden, within cellular borders reserved with birds amid branches and rock work and with floral sprays, the exterior of the basin is plain, quatrefoil and chain-link borders, basin 26cm diameter, bottle 23.5cm high***CONDITION REPORT***Some grubbiness to the exterior which will wipe off, occasional minor wear and scratching to the glaze and gilding notably on the neck of the water bottle, otherwise in good condition with no restoration, chips or cracks detected.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Victorian circular mahogany three tier washstand with ceramic jug and basin, diameter 55cm, height 76cm***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Pair of Edward VII Silver Circular Two-Handled Tazza and Mixed Silverware, the tazza by Wakely & Wheeler, London 1905, 2.5ins high, a Victorian silver circular two-handled sugar basin by Edward Ker Reid, London 1859, embossed with floral and scroll ornament and with leaf cast handles, engraved with monogram, 4.25ins diameter x 2.25ins high, a mixed lot of silverware, combined weighable silver 17ozs
A Chinese Silver Three-Piece Tea Service, by Luen Wo of Shanghai, the shaped bodies with applied prunus blossom decoration and with recessed panels of textured form, comprising - teapot 4ins (10.2cm) high, two-handled sugar basin and milk jug, gross weight 32ozs Note: Ivory Submission Reference Y1SHLRGH Note: Please be aware that according to CITES Regulations, it will be necessary to acquire an export licence to export this lot containing ivory outside the EU. It will NOT be possible to export this lot containing ivory to the USA and to some countries within the EU. Prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.
Rosenthal Meets Versace Porcelain 'Meandre d'Ore Ikarus' - designed by Paul Wunderlich, comprising - milk jug and cover 5.25ins high, sugar basin and cover 3.5ins x 5ins x 3.5ins high, pair of winged mocha cups and saucers, and a miniature table clock 3.25ins high, all with Rosenthal Versace marks to base
A Late Victorian Silver Rectangular Teapot, a Jug and an Edwardian Sugar Basin, all with gadroon mounts and part reeded bodies, the teapot by Forham & Faulkner, Sheffield 1899, with ebonised finial and angular handle, 5.5ins high, gross weight 24ozs, the jug London 1866, with leaf capped scroll handle and the two-handled sugar basin Sheffield 1903, on four ball feet, combined weight 9ozs
A Victorian Scottish Silver Four-Piece Cylindrical Tea Service, by David Crichton Rait, Glasgow 1877, of Middle Eastern design embossed and engraved with bands of leaf scroll geometric ornament and panels of animals and figures with monogrammed oval cartouche, with angular handles, comprising - tea pot 7ins high, hot water pot 9.5ins high, milk jug and sugar basin gross weight 67ozs Note: Ivory Submission Reference JEUDZWK5 Note: Please be aware that according to CITES Regulations, it will be necessary to acquire an export licence to export this lot containing ivory outside the EU. It will NOT be possible to export this lot containing ivory to the USA and to some countries within the EU. Prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.
A George V Silver Oval Sauce-Boat and Mixed Silverware, the sauce-boat by R.F. Mosley & Co. Sheffield 1927, of panelled form with reeded mount, scroll handle and on scroll feet, 3.5ins high, a George V silver circular two-handled butter dish, by Goldsmiths & Silversmiths Co. Ltd. London 1910, with pierced handles, 5.75ins wide overall, and glass liner for same, and a Continental "silver" octagonal two-handled sugar basin and cover and matching milk jug and cover, each stamped silver, on scroll feet, each 4.5ins high, combined weight 28ozs
Springbrunnen mit Aulos spielendem HermesHöhe: 400 cm. Durchmesser: 180 cm. Beckenhöhe: 35 cm.Beckendurchmesser: 240 cm.Italien.Bronze, gegossen, patiniert. Wassertragende weibliche Gestaltetn tragen Krüge, über ihren Köpfen großes Wasserüberlaufbecken mit darauf stehendem Aulos spielendem Hermes. Der Aulos war im alten Griechenland besonders populär und soll von der Göttin Athena erfunden worden sein: Als sie dem Halbgott Perseus geholfen hatte, der Medusa das Haupt abzuschlagen, wurde sie vom Klagen der Medusenschwester Euryale so bewegt, dass sie ihre Töne mit diesem Instrument festhalten wollte. Das Brunnenbecken mehrteilig mit gekehlter und reliefverzierter Wandung. Witterungsspuren. (1371093) (13)Fountain with Hermes playing aulos Height: 400 cm. Diameter: 180 cm. Height of basin: 35 cm.Diameter of base: 240 cm.Italy.Bronze; cast and patinated. Female figures carry water jugs, above their heads a large water overflow basin with Hermes playing aulos.
A «Mwana Pwo» Mask, wood, fibers and metal, it has copper rings in both ears, with a religious medal on the left one, a mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, minor defects, 20th C. (3rd quarter). Sculpted by Samuentacuta Utende, Lóvua post, Chitato municipality, Lunda-Norte province, in 1963. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 6 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work entitled "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of the Huambo Town Hall (former Nova Lisboa) - Angola, p. 13. Original work available at https://memoria-africa.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, accessed March 16, 2023 at 11:16. Item number 2, mentioned in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo (Jovem)»:"Tattoos: - on the forehead: «Txíngelengele» or «Samanana», a cruciform sign that must be or was a symbol of the Tshokwe people, who still bear it in all manifestations of art; - on the nose: «Cangongo» (small bush mouse, with thin fur, considered a delicacy) - this tattoo serves, in part, to differentiate the Tshokwe from the other peoples of Lunda; - on the chin, cheeks and corners of the eyes: «Mipila» which means traces [...]. Copper rings on the ears («Txijingu»), with a religious aluminum medal on the left one. [...] The masked man's suit is made of mesh and has fake breasts, usually made from gourds. Over the costume they wear a kind of skirt in fabrics of feminine taste and a thick dance belt (muia) applied over the hips, decorated with beads and bells, a belt that is exclusive to women, with the purpose of highlighting the lively movement. from the hips. The choreography of the masked man, who is a professional dancer, is characterized by mime, gestures and woman's steps, in which the voluptuous movement of the hips predominates. In addition to representing Woman, the feminine genius of dance, grace and beauty, it can also represent a spell (Wanga) «Kaponya Ka Pwó» [...] of terrible effects. When a «Mukixi Wa Pwó» dancer dies, the mask should normally disappear with him. Therefore, the heir by matrilineal descent, the nephew, the eldest son of the eldest sister residing in the village (here the avunculocal rule is observed), must take the mask and the garment, wrap them in cloth and leaves, take them to a secluded spot in the forest, usually close to a river bank, dig a deep hole and bury them carefully. When he deposits the mask at the bottom of the hole and starts to pour earth over it to cover it, he utters the following words: “Go and stay with my uncle, whose companion you are. He was a great dancer thanks to you and that's why you should accompany him. I'm going to make another mask to continue my uncle's work, which will certainly help me to be as good as he was»). [...] Mask sculpted by Samuentacuta Utende, relative of Soba Tchissessengue, Posto de Lóvua, municipality of Chitato, Lunda, in 1963. Purchased on the advice of its sculptor, an artist of great fame, who also worked for commissions for the Museum of Dundo, in June 1965, when I visited this Museum [...]." Cf. bibliography referred to by the collector: LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, p. 150; and LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, (possibly) pp. 40 and 42-43, figs. 42 and 45. A «muia» is essentially an exterior belt - cf. SANTOS, Eduardo dos - "Sobre a «Medicina» e a Magia dos Quiocos". In "Estudos, Ensaios e Documentos nº 80". Lisboa: Junta de Investigações do Ultramar, 1960, p. 68. For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (as "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (as "Masque Pwo"/"Pwo"); The catalog "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 and 153, nºs 11-15 (as "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/ collection/search/319264?ft=Pwo&offset=0& ;rpp=40&pos=1, consulted on March 14, 2023 at 15:37, Dim. - 22 cm
A Kisanji, a wood and iron lamellophone, double lamella frieze, engraved decoration "Geometric motifs", partly representing the «Capuita» symbol, lower lamellae with wax compound for tuning, Angolan - Tshokwe, 20th C. (1st half), minor defects, patine wear, back with signature of Soba MUFUPO, purchased in Lumeje on 5-30-1970, from soba Mufupo (Luena). Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 1 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 10. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16 am. Item number 137, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças» , identified there as «Quissanje Lungando»: "Decoration: 4 rectangles juxtaposed with equal decorations along the diagonals. The upper left and lower right with the motif «Capuita» (see nº5); the other two with skewed chess squares forming small lozenges with an excavated centre. On the back face, another «Capuita» symbol with ornamentation different from those on the face, within a rectangle [...]. Below this rectangle is roughly engraved(?) the signature of its owner "Mufupo". According to Redinha, the designation of this type of kisanji derives from its low sound. [...] Purchased in Lumeje on 30.5.70, from Soba Mufupo (Luena) [...]." Cf. bibliography referred to by the collector - REDINHA, José - "Campanha Etnográfica ao Tchiboco (Alto-Tchicapa) - Anotações e Documentação gráfica", volume 2. In "Diamag - Publicações Culturais nº 19". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1955, p. 20. "Finely crafted musical instruments, combs, pipes, axes and stools may include elaborate figurative and/or abstract motifs and belong to whoever can afford to obtain them." - cf. JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". Lisboa: Museu Nacional de Etnologia, 2000, p. 114. Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 26,6 x 14,8 x 0,9 cm
A Kisanji, wood and iron lamellaphone, engraved decoration "Capuita Symbols" on vertical friezes, Angolan - Tshokwe (related peoples), 20th C. (1st quarter), later varnishing, faults and defects, great patina wear, offered by Father Robalino, Superior of the Mission of Our Lady of Victories of the Benedictines - Luena (former Luso), Moxico Province. Notes: Provenance: Collection of Engenheio Elísio Romariz dos Santos Silva Fig. 3 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 11. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx? q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 145, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças» identified in it as «Quissanje Txa-Nbunda»: "The base of the quissanje has edges turned upwards as used by the Bundas, however I cannot say that this item is from this ethnic group. ...]. Piece offered by Father Robalino [...] Superior of the Mission of Our Lady of Victories - Luena (former Luso), Moxico province [Luena], of the Benedictines, who didn't tell me where he had picked it up. (1972). Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 e 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 24,2 x 15,3 x 1,3 cm
A kisanji, wood and iron lamellophone, carved decoration with geometric motifs "Messo-ia-issacala", Angolan - Tshokwe, 20th C. (1st quarter), missing lamellae, minor defects, patine wear, purchased in a village north of Munhango (about 20 km) in 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 143, referred to in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Quissanje Kakolondondo»: "Decorated with incisions with a motif bearing the name of «messo-ia-issacala», which represents the eyes of the «issacala» bird through the bars of a cage.[...] Purchased in a village north of Munhango (about 20 km) in 1965 [...] Others kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 e 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 17,5 x 10,4 x 0,8 cm
A kisanji, wood and iron lamellophone, carved decoration "Geometric motifs" and "Capuita Symbol", Angolan - Tshokwe, 20th C. (1st quarter), major fault on the lower edge of the platform, other minor faults and defects, purchased in a village north of Munhango (about 20 km) in 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 2 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 11. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 144, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Quissanje Txa-Nbunda»: "The quissanje platform has the edges turned upside down and is used by the bundas. However, given the place where it was purchased, I am not sure that this piece is of bunda origin. Decorated with incisions forming 4 juxtaposed rectangles all decorated with the "Capuita" motif ( see no. 5). In the verticals of the total rectangle and in the intersection of the median circular decorations. The upper part, above the keys, is decorated with a frieze with 3 lozenges [...] Purchased in Munhango, in a village located 20 km to the north, in 1965 [...]. Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; em SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 24,4 x 13,7 x 1,8 cm
A kisanji, wood and iron lamellophone, carved decoration "Cauris", Angolan - Tshokwe, 20th C. (mid), small cracks, minor defects, patine wear, purchased at Lumeje on 30-05-1970. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 136, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Quissanje Kakolondondo»: "Decoration: rectangle with 3 incisions on the contour with inside arcs of circumference forming a design inspired by the «Cauries», which in time served as currency. According to J. Redinha, the name of this kissanji derives from its crystalline sounds, such as the voices of girls. [...] Purchased at Lumeje on 30.5.70 [...]." Cf. Bibliography referred to by the collector - REDINHA, José - "Campanha Etnográfica ao Tchiboco (Alto-Tchicapa) - Anotações e Documentação gráfica", volume 2. In "Diamag - Publicações Culturais nº 19". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1955, p. 20, where it is mentioned that "Kisanjis or Hand Pianos - There are different types found in Tchiboco […] This fact is explained by the reason that the kissanjis are objects that travel far in the hands of walkers, who use their compass to make walking easier. It happens, from time to time, that they leave them at the most diverse points, exchanged for articles, given or sold." Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - 12 x 8,2 x 0,7 cm
A Kisanji with gourd, wood and iron lamellophone, with gourd (which works as a resonance box), carved decoration "Geometric motifs", Angolan - Tshokwe, 20th C. (mid), missing a lamella, minor defects, major patina wear, purchased in Mucussueje (Moxico) on 18-3-1971. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 4 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, p. 12. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 148, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Kakolondondo»:"Decoration by incisions - rectangle with 3 motifs; the central one is reminiscent of a stylized "mucupela" 2-stroke drum. Above the rectangle are three circumferential arches. [...] Purchased in Mucussueje [Moxico], on 18.3.71 [...]. According to José Redinha "The kisanjis «lungando", «muiemba», «kakolondondo», «tchakel» and «saso» usually apply sounding boards made of gourds." - cf. REDINHA, José - "Campanha Etnográfica ao Tchiboco (Alto-Tchicapa) - Anotações e Documentação gráfica", volume 2. In "Diamag - Publicações Culturais nº 19". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1955, p. 20. Other kisanjis are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 158; in SANTOS, Soraia Ferreira (coord.) - "A Herança dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 57, nºs inv. 2003.R.247 and 2002.R.252; in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook". Brussels: Zaire Basin Art History Research Foundation, 1987, p. 97, nº 15; and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 244, nº 167., Dim. - (quissanje) 11,6 x 7,3 x 0,5 cm
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