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Lot 98
English School, early 19th century Portrait of Sir John Richardson, half-length, in naval uniform miniature on ivory, oval 6.8 x 6.3cm; and another, Portrait of a lady, Miss C J Richardson, half-length, in a red and white dress miniature on ivory, oval 7.5 x 6cm (2) Sir John Richardson (5 November 1787 - 5 June 1865) was a Scottish naval surgeon, natural historian and explorer, well known for his surveys of the Canadian Arctic coast. IMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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.These items have been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission references: 9MY89TUF and G6X89U1T.
Lot 97
... Boichegrain (French, 18th century)Portrait of a nobleman, half-length, in a blue coat and powdered wigsigned 'Boichegrain', miniature on ivory, oval6.5 x 5cm, in a gilt frame with blue glass and plaited hair to the reverse, inset with 'G.M.R.' monogramIMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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.This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: Y5NV664Y.
Lot 108
English School, c.1820 Portrait of a young girl, bust-length, in a white dress with blue sash miniature on ivory, oval 6 x 4.6cm, suspended from an arched stand IMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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.This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: G7NSTSSB. Condition ReportSlight brown staining to the background. The miniature is sitting slightly unevenly in the frame but does not appear to be warped. No signs of cracking or paint loss. The skin tones are slightly faded. Not viewed out of frame.
Lot 105
Horace Hone (1754-1825) Portrait of a lady, half-length, wearing a pink and white dress and gold shawl signed with initials and dated '1782', miniature on ivory, oval 6.5 x 5.5cm, in a gilt-metal frame, with plaited hair verso IMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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. This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: 76KEGW55. Condition ReportThe ivory is slightly 'dished' at the edges but appears to be in otherwise good overall condition. Not viewed out of the frame.
Lot 99
Attributed to Andrew Plimer (1763-1837)Portrait of a lady, bust-length, in a white lace dress and white headscarfminiature on ivory, oval5.2 x 4.2cm, in a gilt-metal frame with blue enamel borderIMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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.This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: Q1ZYLQZK.Condition ReportGlass and miniature are a little loose in frame. A very thin horizontal brown mark to lower right side across material from head scarf. Some tiny light brown marks elsewhere. Presents well.
Lot 96
Manner of Giorgio Domenico DupràPortrait of Charles Edward Stuart, the Young Pretender, bust-length, with tartan sashminiature on ivory, oval5.8 x 4.8cm, in a hinged frame and display case with inscription plaqueIMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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.This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: Y8MF8434.Condition ReportThe miniature is contained in glazed display case measuring 25.5 x 22cm. The face is a little soft and undefined. There is fine line around part of the border and a small spot of discolouration just above the sitter's right shoulder. The work has not been examined out of the frame and there is dust and dirt trappped behind the glazing.
Lot 106
Circle of William Wood (1768-1809)Portrait of Sir George Preston Richardson Bt., bust-length, in uniformminiature on ivory, oval7.5 x 6cmIMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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.This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: BJG2NA57.Condition ReportThere are no signs of cracking or warping to the ivory or any paint loss. Slight fading to the skin tones and background. There is dust and dirt trapped under the glass with some spotting on the inside of the glass.
Lot 101
Manner of Sir Peter LelyPortrait of Barbara Villiers, Duchess of Cleveland (1640-1709), bust-lengthminiature on ivory, oval7 x 5.7cm,together with:Manner of Richard Cosway,a portrait miniature on ivory of a lady in a white dress, bust-length, anda portrait miniature on vellum of a gentleman in a blue coat, mid-18th century (3)IMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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.These items have been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission references: WBLM2QPY and LNXKKYDW.
Lot 169
James Ward RA (1769-1859)A seated woman from the back;A standing figure holding a violin;Study of a maneach signed with a monogram and inscribed 'RA', the portrait of the woman signed and inscribed 'a study from nature/JW. R.A.' verso, the figure inscribed 'A Negro fidler/in a Margate ...' verso, pencil and watercolour25.5 x 21cm, 20.6 x 12.4cm and 9 x 9.5cm, unframed (3)This item contains imagery of a potentially offensive nature and displays outdated language and/or opinion and/or stereotype. It is not to be seen as representative of the views of Sworders Fine Art Auctioneers.
Lot 109
English School, c.1830Portrait of three children among cloudsminiature on ivory13 x 9.5cmIMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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.This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: XBRTQBS2.
Lot 100
Circle of Nathaniel Plimer (1757-1822) Portrait of Lady Richardson, bust-length, in a white dress miniature on ivory, oval, with blue glass and plaited hair verso 7.5 x 6cm IMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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.This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: KH7VPF8Y. Condition ReportCracks to blue enamel on back (as seen in image) A few tiny brown spots seen under glass. No obvious major condition issues to miniature.
Lot 107
English School, c.1800Portrait of John Huey RN, bust-length, in uniformminiature on ivory, oval4.5 x 5.5cm, within a gilt mount, in a red leather travelling caseJohn Huey was wounded at the Battle of Trafalgar in 1805 and died shortly afterwards.IMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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.This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: VZ94HKBF.Condition ReportScattered spots of surface dirt to the background. The epaulettes and buttons have a matt appearance. Some faint brown discolouration to the background in the lower left and also to the right hand edge. Not viewed out of frame.
Lot 103
Follower of John Smart Portrait of the Reverend Thomas James Quinn, bust-length, in a black coat and white stock miniature on ivory, oval 5.5 x 4.5cm, with plaited hair verso IMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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. This item has been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission reference: WSPM6B6U. Condition ReportOld label taped to the reverse is damaged with losses. Some dirt and dust under glass but no major condition issues visible.
Lot 94
Manner of Peter OliverPortrait of a nobleman, half-length, in a gold-embroidered doubletbears inscription 'James 1, Ano Dmi 47', miniature on ivory, with inscription 'JAMES I/KING OF ENGLAND', oval5.5 x 4.3cm,together with:Manner of Nicholas HilliardPortrait of a lady, bust-length, in an embroidered black dress with lace collar and pearlsminiature on ivory, oval5.5 x 4.5cm (2)IMPORTANT NOTE This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, 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.These items have been registered as exempt from the UK Ivory Act 2018. Ivory declaration submission references: 541P37JT and 6CE6VQDD.
Lot 126
CIGARETTE LIGHTER. A 1930's stye chromium plated figural cigarette lighter. Height 17.5cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect. WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase and only to the UK mainland. WE CANNOT SEND THIS ITEM TO A NON-UK ADDRESS.
Lot 1
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
Lot 10
A Soba chair, wood, carved stretchers and "Figures", carved backrest and "Geometric motifs" and "Mwana Pwó mask", other carved decorations "Geometric motifs", leather seat, Angolan - Tshokwe, 20th C. (1st half), various faults in carvings, other faults and defects, wear, patine wear, purchased from Soba Minganjo of Cangonga on 29 March 1968. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item nº 10, mentioned in the notebook of the collector «Angola - Black Art, List and description of the pieces», identified therein as «Cadeira de Soba - (Txituamo Txa Muata)»: "It belonged to Soba Cangonga, who gave the name to the village of Cagonga, located at km 877.0 of the Benguela Railway line. [...] The side and front stretchers were carved with frieze figures that are badly damaged. [...] The one on the right, in better condition (although the figures are headless) represents the Cangonga soba with his two wives: the soba in the corner; on the right side the first wife named NACAFUXE and on the left side the second one named NAMASSÊHÔ. [...] has a Muana Púo mask carved in the center, of 'good quality', with perforated eyes and mouth; on the back, the space occupied by the mask is hollowed out and covered by an engraved metal plate with openings corresponding to the eyes and mouth. The rest of the stretcher is decorated with notches forming triangles (rear) and rectangles (front) [...]. Purchased from the Soba MINGANJO of Cangonga, by the foreman of the Cangonga railway party, Deolindo Anciães, on March 29, 1968, who offered it. This chair belonged to Soba Cangonga, first Soba of the village that was named after him, grandfather of Soba MINGANJO. Upon his death, the chair passed to his successor, his son and uncle of the last Soba who owned it. [...] One day, when I was passing through the Cangonga population gathering, in mid-1966 or early 1967, I saw the Cangonga Soba, sitting in his chair. I asked to take a picture [...] and I suggested that he sell it, which did not work despite all my efforts. It was inherited from his grandfather, the first soba, and he couldn't live without it. So I asked the foreman Anciães, and the head of the 9th section (Munhango) Emílio Augusto de Carvalho, to try to purchase the chair. The then Commander of the Detachment [...] Alferes Costa Pereira, who accompanied me on the visit and saw my interest in the chair, was also interested in it, even offering 1,500$00 Escudos, but he was unable to acquire it. The way the chair ended up in the hands of Anciães is curious. After many days of talks, secret from time to time and ever-increasing offers, Anciães lost hope of ever getting the chair. Unexpectedly, the initiative came from Soba himself. One day, while Anciães was working on the line, and far from the village, he sent for the wife of foreman Anciães. She was taken aback, not understanding the meaning of the Soba's very strange request. She was hesitant to go, afraid; but she was a fearless woman: she took the shotgun, loaded it and called her maid to accompany her to the soba's house to find out what he wanted, maybe even a little carried away by her curiosity. What was her astonishment when she realized that the Soba had called her so that she could tell her husband, in secret, that he was selling him the chair. The deal was carried out by Anciães with the utmost precautions, but he never managed to find out how it was done, nor how much was paid for the chair. [...] Anciães did not know why the Mingajo Soba took the initiative to hand him the chair. I've thought about it many times, but I can't find a clear justification, especially since I think the Soba would have had better offers than my friend made him. Perhaps the explanation for this fact lies in the behavior of some old Sobas in relation to the Dundo Museum (Lunda) that were referred to me by the then curator of the Museum Mário Fontinha (1965). Some of the best items in the museum had been unexpectedly donated by their owners, after all hope of purchasing them had been lost. The old Sobas always explained the reason for their offerings in the same way: they were old and waiting to die and wanted to leave this world, making sure that these items, so dear to them (some linked to their function of command or personal use) , would be well esteemed, free from abuse and even destruction. This is because, they said, the men who would inherit them no longer knew how to value these items loaded with prestige significance, not only for their artistic value, but above all, for the vital force of those who used them. By handing them over to the Museum they knew that these items would be well cherished and kept and that they would continue, through them, in the memory of men. Did Soba Miganjo also feel that his end was near [...]? I can't say for sure, but it's a possible hypothesis." "These chairs reveal a bantuized architecture of the archaic «leather chairs» of the 17th century, introduced by the Portuguese, and the ornament used by carpenters was replaced by figured friezes, a kind of historic frieze from Tchokwe sculptors" - cf. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 60. Other soba chairs are represented in REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 61; in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 150, (as "Cadeira de chefe"); in JORDÁN, Manuel. “Chokwe!- Art and Initiation Among Chokwe and Related Peoples”. Munich/London/New York: Prestel-Verlag, 1998, s/p, nºs 18-19 (as "Chief's throne"); and in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 271-280, figs. 186-195 (as "Chaise")., Dim. - 65 x 25 x 29 cm
Lot 11
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
Lot 12
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
Lot 13
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
Lot 14
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
Lot 15
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
Lot 16
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
Lot 17
A kisanji, wood and iron lamellophone, carved decoration "Geometric motifs", Angolan - Tshokwe, 20th C. (1st quarter), missing lamellae, minor defects, patine wear, purchased from Samoroci of Sanzala Muanachina - right side of C.F.B railway at km 1056, near Luena (former Luso) - on July 12, 1974. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 221, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Quissanje»: "Decoration: a rectangle flanked by 6 lines(?) arranged parallel to the longer sides [...] the rectangle is decorated with incisions. 4 next to the longer sides (4+4); in the central part incisions (approximately) 30º forming in the central part a lozenge and 6 triangles. [...] Purchased from the same person as item 220 (Samoroci of Sanzala Muanachina, right side of the C.F.B railway at km 1056, near Luena [former Luso]) and on the same date (12. July. 1974) [...]." 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. - 13 x 9,5 x 0,5 cm
Lot 18
Four different combs, wood, carved decoration "Geometric and anthropomorphic motifs", Angolans - Tshokwe (related peoples), 20th C. (mid), faults and defects, patina wear, purchased: two in Luena in 1965 and 1970; one in Lumeje in 1967; and another one at Munhango in 1966. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, these combs correspond to items with numbers 5, 81, 82 and 83 mentioned in the notebook of the collector «Angola - Arte Negra, relação e descrição das peças». Item nº 5 is identified in this notebook as «Pente Txissaculo - pl - Issaculo», items nº 81, 82 and 83 are each identified as «Txissaculo». With regard to item number 5, it is mentioned that: "The hexagonal handle has, on the front part, engraved a face (two eyes, nose and mouth) and, contouring the sides of the polygon, two grooves; on the back part geometric drawings: two lines of small rectangles limited on the upper side by three grooves and on the lower side by four.The front side of the crosspiece is decorated with a drawing called «Caputita» or «Tupuita», often used in tattooing. Abbot Brevil interpreted it as being the schematic representation of the woman. H. Baumann, who found it in almost all the Bantus in Africa, interprets it as the man and the woman in copulation. On the back, the rectangle is divided by its diagonals and the triangles formed are decorated with grooves, some vertical and others parallel to one of the diagonals. [...] Item purchased from a Luena woman, in the sanzala of Soba Nacalunda, south side of the concentration of populations of Lumeje, on 30. Maio. 1970 [...]. Cf. Bibliography referred to by the collector: LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, pp. 37-38. No. 81 is described as containing "Crosspiece decorated with incisions surmounted by a rod that has a carved head on top. [...] Purchased in Luena in 1965 [...]. The piece with no. 82 is described, containing a "Crosspiece decorated on the front side with incisions representing «Couris», surmounted by a rod with a carved head. [...] Purchased in Lumeje in 1967 [...]." No. 83 is referred to in the notebook, containing a "Crosspiece decorated with incisions, surmounted by a rod with a carved head. [...] Purchased in Munhango in 1966 [...]." "Musical instruments, combs, pipes, axes and finely crafted stools may include elaborate figurative and/or abstract motifs and belong to anyone who can afford to get 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, pp. 92 e 114-115. "Native-made combs are still very common in the Northeast of the Province, not least because their usefulness has intensified a lot in the last few decades, due to the disuse of the old red clay headdresses, which dispensed with daily care with the hairstyle. This type of headdress also influenced the disuse of hairpins, which are now replaced by combs. The ulotric hair of Africans admirably allows for the most varied headdress fantasies, and the comb is therefore a very useful piece. It also serves as an adornment, nailed in a suitable way, in the hair. For this reason, it is common for the crosspieces on the combs to feature cute carved decorations, sometimes with openwork, sometimes surmounted by small representations of women's heads, full-length human figures, birds and other motifs. There are two types of combs: those with staff sticks held together by fibers of cajana (a kind of reed), and those made of wood, whole, with teeth carved from a spared crosspiece that serves as a base."- cf. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, pp. 26-27. Other combs are represented in SANTOS, Soraia Ferreira (coord.) - "Herança Secular dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 129, nº inv. 2004.R.25; in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 157; in JORDÁN, Manuel. “Chokwe!- Art and Initiation Among Chokwe and Related Peoples”. Munich/London/New York: Prestel-Verlag, 1998, s/p, nº 52; in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 242, nº 164; and in the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lot 46., Dim. - (o maior) 19 cm
Lot 19
Five different combs, fibers, braided decoration "Geometric motifs", Angolans - Tshokwe (related peoples), 20th C. (2nd half), faults and defects, patina wear, four purchased in sanzala of Muata Sabumbo, in June 1965, another in Luacano in 1966. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, these combs correspond to items number 71, 72, 73, 74 and 89 mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças» and each one identified in it as «Txissaculus». The collector mentions that items numbered 71, 72, 73 and 74 were purchased under the same conditions, so it is assumed that the three items were then purchased at sanzala of Muata Sabumbo(?), in June 1965. Item nº 89 is described in the notebook as a "Crosspiece decorated with incisions [...] Purchased at Luacano(?) in 1966 [...]. " Other combs are represented in SANTOS, Soraia Ferreira (coord.) - "Herança Secular dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 135, nºs inv. 2004.R.70 e 2002.R.285., Dim. - (o maior) 18 cm
Lot 2
A «Mwana Pwo» Mask, wood, fibers and metal, It has metallic rings in both ears, a mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (mid), faults and defects, purchased in Dundo, Lunda-Norte, in 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Figs. 10 and 11 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, pp. 14-15. Original work available at https://memoria- africa.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 3, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo»: "Tattoos: - on the forehead and chin: «Mupila» (dash); - on the cheek: «Misoji (tears), «Lumba» (wheels) and cruciform marks; - on the chin and next to the lips: «Mipila» (singular «Mupila»); - on the nose: «Cangongo». Separating the "trilobed" hairstyle from the forehead is a row of 9 round brass studs. Two hoops to make earrings. [...] [...] Purchased on the outskirts of Dundo - Lunda, in June 1965, after a long week of talks and negotiations [...] and a new mask that had been offered to me by the Dundo Museum and executed by its private sculptors". The hairstyle depicted on the mask may be the "Kalarika" hairstyle, which is a Tshokwe hairstyle worn by women - vd. SANTOS, Eduardo dos - "Sobre a «Medicina» e a Magia dos Quiocos". In "Estudos, Ensaios e Documentos nº 80". Lisbon: Junta de Investigações do Ultramar, 1960, p. 130, fig. 124-125. 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. - 17 cm
Lot 20
Four different combs, wood, carved and pierced decoration "Geometric motifs", Angolans - Tshokwe (related peoples), 20th C. (mid), minor defects, patina wear, purchased: on the outskirts of Luena (former Luso), in 1967; two in Cangumbe, in 1968; and in Lubango (former Sá da Bandeira), in 1969. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, these combs correspond to items numbered 100, 104, 107 and 132 mentioned in the notebook of the collector «Angola - Arte Negra, relação e descrição das peças». Items nº 100, 104 and 107 are each identified as «Txissaculo», item nº 132 is identified only as «Comb». Item No. 100 is mentioned, containing a "Crosspiece decorated with incisions, triangular on one side and semi-circular on the other. Crosspiece surmounted by 3 small rods" [...] Purchased on the outskirts of Luena [former Luso] in 1967 [. ..]. No. 104 is described in the notebook, containing a "Crosspiece decorated with incisions, surmounted by two stems in the shape of an elephant's foot. [...] Purchased in Cangumbe, in 1968 [...]." Item number 107 is also mentioned in the collector's notebook, containing a "Crosspiece decorated with incisions; herringbone on one side and horizontal and crossed on the other side; surmounted by a rod in the shape of a lizard's head [...]. Purchased in Cangumbe in 1968 [...]." Item nº 132 is described, containing an "M-shaped crosspiece, decorated with incisions, forming an "M" and a triangle; the crosspiece is pierced by two symmetrical cuts (>
Lot 21
Three different combs, wood, carved and pierced decoration "Geometric motifs", Angolans - Tshokwe (related peoples), 20th C. (mid), minor defects, patina wear, two purchased in Munhango, in 1966, the other in Luau (former Teixeira de Sousa), in 1967. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, items with the numbers 76, 85 and 108 mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», each identified as «Comb». No. 76, referred to in the collector's notebook, is described as containing a "Crosspiece pierced by a circular sector. The upper part is adorned with vertical incisions; the lower part with vertical and oblique incisions forming triangles. Purchased in Munhango, in 1966 [...]." No. 85 is described, containing a "Crosspiece decorated with incisions surmounted by an arch with two small stems [...]. Purchased in Munhango in 1966 [...]." Item nº 108 is referred to, containing a "Crosspiece decorated with incisions forming four panels with four triangles each; the panels are divided two by two by vertical incisions in the center of the crosspiece. This is topped by an arch with two small and diverging rods . [...] Purchased in Luau [former Teixeira de Sousa] in 1967, [...]." Other combs are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 157; in JORDÁN, Manuel. “Chokwe!- Art and Initiation Among Chokwe and Related Peoples”. Munich/London/New York: Prestel-Verlag, 1998, p. 63, nº 52; and in the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 46., Dim. - (o maior) 21 cm
Lot 22
Four different combs, wood and iron, carved decoration "Geometric motifs", one of the combs with brush., Angolans - Tshokwe (related peoples), 20th C. (2nd half), minor defects, patina wear, purchased: one at Sanzala of Soba Jamba (northern concentration of Lumeje), on May 30th, 1970; two in Luau (former Teixeira de Sousa), in 1966 and 1967; and the other in Macano, on March 18th, 1971. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, these combs correspond to the pieces with the numbers 18, 103, 112 and 151 mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças». Items numbered 18, 103 and 151 are each identified as «Txissaculo», item No. 112 is identified as «Txissaculo with Mutchaia brush». Regarding item possibly number 18, the following is mentioned: "Small handle in the shape of a spike with a crease in the centre. Crosspiece decorated with vertical and horizontal details(?) on one side and vertical, horizontal and inclined ones on the other. [.. .] Purchased [...] on May 30. 70 in the Sanzala of Soba Jamba - concentration north of Lumeje." With regard to nº 103, the following is mentioned: "Crosspiece decorated with incisions in the shape of a lozenge alternating with horizontal incisions in the spaces between them. The lozenges are made up of two triangles joined by their longer sides. The crosspiece is topped by two rods with a rectangular section connected at the top by a cylindrical shape.The crosspiece is separated from the teeth by two incisions.[...] Purchased in Luau [former Teixeira de Sousa], in 1966 [...]. Regarding nº 112, the following information is referred to "Small crosspiece decorated with incisions. Connected to the crosspiece by a strangulation, in trapeze that forms the brush [...]. Back side ornate. [...] Purchased in Luau [former Teixeira de Sousa] in 1967 [...] [...]." Cf. and vd. 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. 19, where it is stated that "PENTES («Isakulo», plural of «Tchisakulo»): It is the Tshokwe term by which those objects are designated (Figs. 163-168). However, the indigenous comb does not correspond to the common idea of the modern comb and it still works as an adornment. It is used, indistinctly, by men and women"; and SANTOS, Eduardo dos - "Sobre a medicina e a Magia dos Quiocos". Lisboa: Junta de Investigações do Ultramar, 1960, s/p, fig. 130. With regard to nº 151, identified as «Txissaculo» in the handwritten notebook, the following information is mentioned: "Crosspiece topped by a small polygonal rod. The decoration of the crosspiece, by incisions, is formed by 4 juxtaposed rectangles with a border of vertical incisions [...] Each of the 4 rectangles is decorated with the "Capuita" motif (see nº5), which together form a beautiful design. Purchased at Macano(?). Other combs are represented in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 157; in JORDÁN, Manuel. “Chokwe!- Art and Initiation Among Chokwe and Related Peoples”. Munich/London/New York: Prestel-Verlag, 1998, p. 63, nº 52; in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 242, nº 164; and in the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 46., Dim. - (o maior) 17,9 cm
Lot 23
Two different combs, wood and pigments, carved decoration "Geometric motifs"., Angolans - Tshokwe (related peoples), 20th C. (mid), minor defects, patina wear, one purchased in the village of Caviva (approximately 31 km south of Cubal), in May 1965, the other purchased in Lubango (former Sá da Bandeira), in 1969. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, items numbered 129 and 133 referred to in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», each identified as «Pente»: Item nº 129 is described, containing a "Crosspiece in the shape of a bell decorated with incisions; on one side, an animal with horns (possibly an ox); on the other 4 lozenges in a cross connected by their apexes. The edges of the bell are decorated with two bands of incisions. [...] Purchased in the village of Caviva (approximately 31 km south of Cubal) in May 1965 [...]." Item number 133 is referred to in the notebook, containing a "Crosspiece decorated on one side only, rectangular with rounded corners; the decoration is made by incisions - at the centre two ribbons in small pyramidal spikes with a square base (3 series on each ribbon); The sides are decorated with the same spikes forming lozenges. [...] Purchased in Lubango (former Sá da Bandeira) in 1969 [...].", Dim. - (o maior) 17,3 cm
Lot 24
A mortar, wood, carved decoration "Geometric motifs"., Angolan - Tshokwe, 20th C. (1st half), minor faults, chips, wear, purchased at Sanzala Muata Sabumbo - Soba Matassambuia, Posto do Lóvua, Municipality of Chitato, Lunda, in June 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 68, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Gral»: "This type of mortar (Tebino teha milungo) is used for trampling spice plants for the kitchen. [...] The upper part of the Gral [...] is decorated with a frieze divided into 4 parts by diametrically opposite projections, one of them is crossed by a hole through which a thread would pass in order to be suspended. Between these protusions there is a decoration made with carvings, the four panels being different. Next to the foot strangulation there are two grooves. Purchased at Sanzala Muata Sabumbo - Soba Matassambuia, Posto do Lóvua, Municipality of Chitato, Lunda, in June 1965 [...]". Mortars with partly identical decoration are represented in REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 35; and in 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. 106, nº 15., Dim. - 13 cm
Lot 26
A Porrinho (club), wood, carved decoration "Geometric motifs"., Angolan - Tshokwe (related peoples), 19th/20th C., minor defects, patina wear. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, piece number 200 mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Porrinho»: "Possibly the item I've owned for a long time [...].", because I don't remember how it came to be in my hands [...].", Dim. - 62,7 cm
Lot 27
A staff «female figure», carved wood, carved staff handle "Woman's head and breasts"., Angolan - Ovimbundu, 19th/20th C., faults and defects, purchased in Porto, in 1975. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 237, referred to in the notebook of the collector «Angola - Arte Negra, Arte Negra, Relação e descrição das peças», identified in it as «Bastão»:"Topped by a woman's head, whose hairstyle formed 2 braids falling over the nape of the neck (the one on the left is broken and has disappeared) on top of the head there is a protrusion of the hairstyle. [...] Underneath the hairstyle and on the forehead, there is a decoration of 5 grooves (in the middle there are only 3). The staff's stem has 2 breasts, whose nipples are in the same position of almost extreme diameter. The base of the stem has an elongation. [...] Purchased in Oporto in 1975 [...]". "The staff representing unique figures (often female) generally represent the ancestral spirit that protects the respective owner […]" - 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. 111. There are staffs with some similar characteristics at the National Museum of Archeology - vd. https://www.matriznet.dgpc.pt/MatrizNet/Objectos/ ObjectosConsultar.aspx?IdReg=1072882 - consulted on February 24, 2023, at 08:29., Dim. - 66 cm
Lot 28
A «Muila» dance staff, wood, leather, beads, buttons, metal, carved staff top "Torso and head of woman with trilobed hairstyle"., Angolan - Lubango - Huila, 20th C. (1st half), fault on one of the arms of the sculpture, fracture, possibly later leather, major patina wear, other small faults and defects, purchased at an exhibition of handicrafts held in Luanda, on the Marginal, by the Instituto do Trabalho, in August 1966. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 60, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Bastão de dança Muila (?) - Itanda (?) »: "The staff is surmounted by a half body with two arms, one of which, the left one, is 'broken'. The head, with a trilobed hairstyle, is ornamented with brass metal studs [...]. Covering the body is a leather cover, made up of three pieces; the central one over the others [...]. Purchased at an exhibition of Handicrafts held in Luanda, on the Marginal, by the Instituto do Trabalho, in August 1966 [...]. This item's file (1751) did not specify the ethnicity of its author and owner - Chimbindua, from the village of Hoque, Posto do Hoque, Municipality of Lubango, District of Huíla". "The staffs that represent unique figures (often female) usually represent the ancestral spirit that protects the respective owner […]" - 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. 109., Dim. - 39 cm
Lot 29
A «Txihongo» mask, wood, fibers, metal, resins and pigments, has a religious medal on its right ear, a mask representing the male ancestor, used by professional dancers in various types of ceremonies., Angolan - Luando region (North of Cuemba), 20th C. (1st half), minor faults and defects, traces of wood insects, possibly from the Luando region, Cuemba municipality, Bié province. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 47, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified therein as «Máscara Txihongo»: "It represents the male ancestor and, so to speak, is in opposition to Muana Pwó. This masked man's choreography is characterized by a series of hip movements that demonstrate hardness and firmness; all of it is masculinity. He is a professional dancer who goes through the villages dancing and receives money and gifts for his performance, just like Muana Pwó. The main characteristic of this type of mask is the protrusion in the chin area, which symbolizes the beard, a male attribute. The face, which is very expressive, has a prominent, pointed forehead. [...] Decoration: on the forehead: a yellow stud under a «Mupila» tattoo. Other tattoos: under the eyes - «Masoji»; on the chin: «Mipila»; on each face a semicircle ("Kakweji" = Moon). In its right ear, it has an earring (religious medal - Our Lady of Fátima and Sacred heart of Jesus) suspended by a wire; the left earlobe has two holes. Gift from Padre Gabriel [...] of the Mission of the Benedictines of Cuemba, in 1966. It had been obtained by Padre Gabriel in the Luando region (North of Cuemba) in 1959 [...]". 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, pp. 166 and (possibly) 160. For the same type of mask vd. BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 12 and 95-98, nºs 34-37 (as "Masque Cihongo"); and 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. 67, nºs 28-30., Dim. - 21 cm
Lot 3
A «Mwana Pwo» Mask, wood, fibers, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (1st quarter), missing headdress and neck netting, other faults and defects, possibly from Luena, Moxico Province. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 186, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Pwó»: "Well-sculpted protruding ears with pierced lobes; thin, upturned nose, with large, well-designed nostrils; open mouth with two rows of teeth; pointed, projecting chin. Decoration: on the forehead, from one ear to the other a symmetricaldecoration made with incisions that intersect (?) obliquely, with an undecorated space in the centre Tattoos: under the ears, on the forehead: variant of «Txiguelenguele» or «Samanana» characteristic of the Tshokwe (?). [...] On the faces: a tattoo on each side, symmetrical. [...] Offered by Jorge de Jesus Mouta, [...] on 6/3/72. This mask had been offered to him by an old merchant from Luena who had owned it for many years [...]. Comparing this piece with others that I had or have and that I saw up close, it seems to me that this one is lighter, which results from being much less thick, which is very clearly seen in the part of the faces that are broken, where the wood is not even 1 millimeter thick. Is this low thickness of the mask a feature of antiquity? I think so." For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (como "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, fig. 40-45 (como "Masque Pwo"/"Pwo"); the catalogue "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" In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 e 153, nº 11-15 (como "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,, Dim. - 17,5 cm
Lot 31
A ceremonial hatchet, wood and metals, carved decoration "Figures carrying a cage"., Angolan - Holu, 20th C. (1st half), in need of bonding resin, minor faults and defects, purchased in Loremo - Camaxilo, District of Lunda. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 217, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified as «Machadinha Cerimonial» : "Offer from the Administrator of the Pungo-Andongo Post, Mr. Rogério Monteiro Pinto on March 25, 1974. It had been purchased by him[…] in Loremo - Camaxilo, District of Lunda. I had difficulty classifying this item: Camaxilo is a Tshokwe area […], but this item did not fit the style. It was suggested to me that it would be Songo. Dr. António Barros Machado solved the problem with the photographs that he presented in his Monthly Report 7/1970; the photographed item even looks the same at first glance […]. Given the […] similarity between the items I own and the one photographed, if they didn't come from the same sculptor's hand, they are certainly from the same artistic centre". It could belong to a sculptor: "The sculptor's art, 'songi' (derived from 'kusonga', to sculpt), enjoys great prestige. His emblem consists of a small ceremonial adze with a handle shaped like an ornamental human head, which he carries on his shoulder." cf. BASTIN, Marie-Louise - "Escultura Tshokwe". Porto: Faculdade de Letras da Universidade do Porto, 1999, p. 24. Vd. similar hatchet in FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 37, nº 4. "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., Dim. - 43 cm
Lot 338
A pair of cufflinks, 750/1000 gold, lapis lazuli plaque application, French, 20th C. (mid), signs of use, warranty mark, marked VAN CLEEF & ARPELS, numbered B 9534 and B 9535, without Portuguese marks, pursuant to Decreto-Lei No. 120/2017, of September 15 - art. 2, paragraph 2, letter c). Notes: 1. Although marked, and presumably produced by the brand in question, the item described above is not accompanied by the respective original documentation; 2. In these circumstances, the responsibility for the accuracy of the description assumed by Cabral Moncada Leilões does not cover this attribution which, although probable, it is not possible for us to prove., Dim. - 1,8 x 1,6 cm; Peso - 23 g.
Lot 34
Three pipes and three different necklaces, wood, fibers, leather, metals, beads and ostrich eggshell, Angolan, 20th C., minor defects, patina wear, one of the pipes purchased from a woman on a farm near Cabio (about 12 km northeast of Catungue), in 1973. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, the pipe marked corresponds to the item with nº 183 mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Pipe»: "Purchased in 1973, to a woman worker on a farm near Cabio(?), next to the Cabal river and about 12 km northeast of Catungue(?), where the Benguela Railway variant passed, at the time still under construction. [...] Decoration with beads, which is not common (it is the only example I know)." “Musical instruments, combs, pipes, axes and finely crafted stools may include elaborate figurative and/or abstract motifs and belong to those who 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., Dim. - (colar) 22 cm
Lot 35
A pillow, wood neck support, Angolan, 20th C. (mid), broken and glued, other minor defects, good patina wear, purchased in a village in the Songo region (100 km north of Cuemba). Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 184 mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified there as «Pillow (Mesau)»: "Purchased in a village from the Songo region, 100 km north of Cuemba Gift from Mr. Padre Robalinho, Superior of the Mission of Our Lady of Victories, of the Benedictines, in Luena (former Luso) (Moxico) on 6/5/[ 19]72.", Dim. - 11,5 x 12,5 x 11,5 cm
Lot 37
Maternity, wooden sculpture representing a female figure holding a child, Congolese - Yombe, 19th/20th C., minor defects. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 5 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 1, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Maternidade»: "Protective image (Ntadi), with supernatural strength (Nkissi); dedicated to the spirit Mumaza, to prevent the sterility of its owner and his family, called «ngudi ye muana masa". It is kept in the «Ngudi a nzo» (mother place), that is, the conjugal room of the head of the family, a secret and inviolable place of intimate life, where only the head of the family and the woman who accompanied him could enter, or whoever he authorized. The woman has colloidal tattoos, generically called «Nsamba» [...]. She has a pointed cap on her head, known as "N'sumba" and, over her breasts, a double cord with a large cylindrical bead, which only consecrated chiefs could have. The use of this bead is in disagreement with the type of cap, which is different from the «Mpu», exclusive to the families of consecrated chiefs. The tattoo, the cap and the bead are the 2nd degree formal elements that place the image in the ontological order of the living, but do not individualize it. [...] Purchased in 1966, in exchange for a Muana Pwó mask, of very good quality, purchased in 1965 in the Lovua region, Luanda, from [...] Rodrigo Dinis, an employee of the C.F.B, in Lobito. He who had painted the statuette in Repe black ink (water ink) and informed that it had been taken to Portugal at the end of the 19th century by his uncle José Caetano Correia Henrique, who was in service in Angola as an army officer" - Cf. Bibliography referred to by collector: (possibly) VERLY, Robert - "Les mintadi: la statuaire de pierre du Bas-Congo (Bamboma-Mussurungo)". Louvain: Revue Zaïre, 1955; JAHN, Janheinz - "Muntu: African Culture and the Western World". Paris: editions du Seuil, 1961; and his article SILVA, Elísio Romariz dos Santos - "A Escultura Negro Africana Vista à Luz da Filosofia Banta" published in "Boletim Cultural do Huambo", nº 26. Nova Lisboa [Huambo]: Serviços Culturais do Município de Nova Lisboa [Huambo], 1971, pp. 11-20, available in https://memoria-africa.ua.pt/Library/ShowImage.aspx?q=/BCHuambo/BCHuambo-026&p=10, consulted the 11 de Março de 2023 às 14:30. Vd. «Maternity sculptures in LAGAMMA, Alisa - "Kongo - Power and Majesty". New Haven: Yale University Press, 2015, pp. 40-41, 70-71 and 180-181, figs. 15, 38 and 122; and in LEHUARD, Raoul - "Les Phemba du mayombe - Collection Arts D'Afrique Noire". Arnouville: Arts d'Afrique Noire, 1977, pp. 47, 77 and 119, nºs 10 and 26. "[...] these maternities - in search of the idealized representation of female beauty - sometimes of excellent craftsmanship, were carved in large numbers on the coast of Loango and Cabinda, in the second half of the 19th century, on the occasion of a new popular cult of «nkisi» - known as «mpemba» - favorable for the treatment of gynecological problems" - cf. and vd. the catalog "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia, 1994, p. 66, nº 12. A similar example is part of the collection of the Museu Nacional de de Etnologia, with the number AO.907 - vd. https://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=1125006, consultado a 18.08.2023 às 12:03., Dim. - 27 cm
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