A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Auction catalog
Title
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Description
AFRICAN ART COLLECTION OF MARY SUE AND PAUL PETER ROSEN Mary Sue and Paul
Peter Rosen have collected African art for over thirty years, making nine trips to Africa to study the
art in its cultural setting. The Rosens have published three African art books, curated more than ten
exhibitions from their collection, and have given public lectures about African art and culture. They
have donated art from their collection to various institutions including the Newark Museum, Temple
University in Philadelphia, the SMA Fathers African Art Museum in Tenafly, New Jersey, and the
African American Research Library in Fort Lauderdale, Florida. Payment is due by Tuesday, April
11 at 3PM. Pickup in Pleasant Valley, NY must be completed by Wednesday, April 12 at 3PM. All
lots sold as is, where is. There is a 15% Buyers Premium for all lots purchased. Payment methods
include cash, PayPal, MC, Visa, Discover or good check. You can make credit card payment online
by going to your Member Area and selecting your invoice. To pay by PayPal, send money to
[email protected]. Shipping available on all items. THE FOLLOWING COMMERCIALLY
AVAILABLE REFERENCES ARE CITED BY THE AUTHOR(S) NAME AND PUBLICATION
DATE IN VARIOUS LOTS: Hahner-Herzog I.H., M. Kecskési, L. Vadja. “African Masks”1998.
Bacquart J-B. “The Tribal Arts of Africa” 1998. Phillips T. “Africa. The Art of a Continent” 1999.
Clarke D. “The Art of African Textiles” 1997. Rosen M.S., Rosen P.P. “Masks from West and
Central Africa” 2013. Gillow J. “African Textiles” 2003. Kreamer CM, Fee S. “Objects as Envoys”
2002(the entire book is devoted to Madagascar textiles). Stepan P. “Spirits Speak” 2005. Lamb V.,
Lamb A. “Sierra Leone Weaving” 1984. “EMBLEMS OF POWER. ASAFO FLAGS FROM
GHANA” BY M.S. AND P.P. ROSEN IS ONLY AVAILABLE FROM THE AUTHORS AT
[email protected] PRICE POSTPAID IN US IS $25.00; OUTSIDE US POSTPAID $35.00.
Date
Thu, Mar 9, 2017
Starts at
4:00 PM
Address
Online Auction Only, Pleasant Valley, NY 12569 USA
Categories
Lot #
Qty
Title
1
1
OKUY FACE MASK. Punu people, Gabon. It is worn by a member of the Okuy
Society who dances on stilts at funerals. The diamond-shaped forehead scarification has
9 bumps, and there are oval scarifications at the corners of the mouth. The coiffure is
divided into 3 sections with a large central lobe. Wood, pigment. H 13.5in. See
Rosen/Rosen 2013 pp 164-169.
Des.
OKUY FACE MASK. Punu people, Gabon. It is worn by a member of the Okuy Society who dances on stilts
at funerals. The diamond-shaped forehead scarification has 9 bumps, and there are oval scarifications at the
corners of the mouth. The coiffure is divided into 3 sections with a large central lobe. Wood, pigment. H
13.5in. See Rosen/Rosen 2013 pp 164-169.
Lot #
Qty
Title
2
1
EKUK FACE MASK. Kwele people, Gabon. Worn by a member of the Bwete Society,
this mask represents the head of a Bongo antelope which is considered to be forest
spirit. Ekuk means “things of the forest”. Wood, pigment. H 23in. See Rosen/Rosen
2013 p 170.
Des.
EKUK FACE MASK. Kwele people, Gabon. Worn by a member of the Bwete Society, this mask represents
the head of a Bongo antelope which is considered to be forest spirit. Ekuk means “things of the forest”. Wood,
pigment. H 23in. See Rosen/Rosen 2013 p 170.
1
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
3
1
CHI WARA HEADCREST MASK. Bamana people, Mali. This mask represents a male
roan antelope. In Bamana mythology, knowledge of farming was acquired by observing
the roan antelope, aardvark, and pangolin. The vertical form is characteristic of central
and eastern Mali. Chi wara are danced in male and female pairs with the male leading
the female. This mask is attached to a cloth covered basketry cap. Tufts of animal hair
are held in place by leather caps at the tips of the horns. Wood, beads, leather, animal
hair, cloth, basketry cap, string. H 37in (with cap). See Rosen/Rosen 2013 pp 94-95.
Des.
CHI WARA HEADCREST MASK. Bamana people, Mali. This mask represents a male roan antelope. In
Bamana mythology, knowledge of farming was acquired by observing the roan antelope, aardvark, and
pangolin. The vertical form is characteristic of central and eastern Mali. Chi wara are danced in male and
female pairs with the male leading the female. This mask is attached to a cloth covered basketry cap. Tufts of
animal hair are held in place by leather caps at the tips of the horns. Wood, beads, leather, animal hair, cloth,
basketry cap, string. H 37in (with cap). See Rosen/Rosen 2013 pp 94-95.
Lot #
Qty
Title
4
1
KASSA WEDDING BLANKET. Peul (Fulani) people, Mali/Niger. This textile
provides protection against mosquitoes and warmth on cold nights. It was made from 9
hand woven 6in strips loosely sewn together so that a damaged strip can more easily be
replaced. The decorative designs have an hourglass shape with central tufting. Cotton.
99.5inx54in. Exhibited at the Pen and Brush Gallery, New York 2009.
Des.
KASSA WEDDING BLANKET. Peul (Fulani) people, Mali/Niger. This textile provides protection against
mosquitoes and warmth on cold nights. It was made from 9 hand woven 6in strips loosely sewn together so
that a damaged strip can more easily be replaced. The decorative designs have an hourglass shape with central
tufting. Cotton. 99.5inx54in. Exhibited at the Pen and Brush Gallery, New York 2009.
Lot #
Qty
Title
5
1
KOTA-STYLE RELIQUARY FIGURE. Obamba subgroup of the Kota people, Gabon.
These copper-clad sculptures were guardian figures inserted in the tops of bark boxes
that contained the bones of ancestors. Among the 6 forms of reliquary figures, the
Obamba style features the large curved coiffure seen in this example. Copper, nails,
wood. H 19in. See Bacquart 1998 p 120-123.
Des.
KOTA-STYLE RELIQUARY FIGURE. Obamba subgroup of the Kota people, Gabon. These copper-clad
sculptures were guardian figures inserted in the tops of bark boxes that contained the bones of ancestors.
Among the 6 forms of reliquary figures, the Obamba style features the large curved coiffure seen in this
example. Copper, nails, wood. H 19in. See Bacquart 1998 p 120-123.
Lot #
Qty
Title
6
1
BEAUTIFUL VEINED PAPER WEIGHTS (2). Northeast coast of Madagascar. Made
from ocean jasper found along the shore line that is mined at low tide. H 4.5in; 5.5in.
Des.
BEAUTIFUL VEINED PAPER WEIGHTS (2). Northeast coast of Madagascar. Made from ocean jasper
found along the shore line that is mined at low tide. H 4.5in; 5.5in.
2
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
7
1
ELU FACE MASK. Ogoni people, Nigeria. Masks like this are worn by men in
masquerades that refer to various events and community traditions. The hinged jaw can
be opened and closed with an audible click by movements of the wearer’s mouth. This
example has 4 large teeth that are visible when the mouth is open. Unusual features are
the orange color of the face and an earring. This mask was used by the Ogoni people or
a neighboring tribe. Wood, paint, glass beads. H 9in. Exhibited at the Free Library
Gallery, Philadelphia 2012. Published in Rosen/Rosen 2013 p 117. See Lot #20.
Des.
ELU FACE MASK. Ogoni people, Nigeria. Masks like this are worn by men in masquerades that refer to
various events and community traditions. The hinged jaw can be opened and closed with an audible click by
movements of the wearer’s mouth. This example has 4 large teeth that are visible when the mouth is open.
Unusual features are the orange color of the face and an earring. This mask was used by the Ogoni people or a
neighboring tribe. Wood, paint, glass beads. H 9in. Exhibited at the Free Library Gallery, Philadelphia 2012.
Published in Rosen/Rosen 2013 p 117. See Lot #20.
Lot #
Qty
Title
8
1
TRADITIONAL BOGOLAN (“MUD CLOTH”) TEXTILE. Bamana people, Mali.
Hand painted with a black dye derived from mud. This example displays human figures
along the borders and an intricate central design. It consists of seven hand woven, hand
sewn strips. Collected in 2005 from Adramante Tandia. Cotton. 33inx59in.
Des.
TRADITIONAL BOGOLAN (“MUD CLOTH”) TEXTILE. Bamana people, Mali. Hand painted with a black
dye derived from mud. This example displays human figures along the borders and an intricate central design.
It consists of seven hand woven, hand sewn strips. Collected in 2005 from Adramante Tandia. Cotton.
33inx59in.
Lot #
Qty
Title
9
1
ODE-LAY SOCIETY HEADCREST MASK. Temne people, Sierra Leone. The Janus
base of this old three-tier mask consists of two slightly different faces with
Hindu-inspired features. Rising like a column from the Janus base is the bust of a fierce
horned animal around whose neck are coiled two snakes. A small female bust is situated
at the top. The knob on the forehead of the forward-facing Janus face is an amulet.
Wood, paint. H 30in (without horns). See Rosen/Rosen 2013 pp 58-85 and attached
text.
Des.
ODE-LAY SOCIETY HEADCREST MASK. Temne people, Sierra Leone. The Janus base of this old
three-tier mask consists of two slightly different faces with Hindu-inspired features. Rising like a column from
the Janus base is the bust of a fierce horned animal around whose neck are coiled two snakes. A small female
bust is situated at the top. The knob on the forehead of the forward-facing Janus face is an amulet. Wood,
paint. H 30in (without horns). See Rosen/Rosen 2013 pp 58-85 and attached text.
Lot #
Qty
Title
10
1
FEMALE ROD PUPPET. Marka people, Mali. Hammered brass attached with nails to
the face is reminiscent of a Marka-style mask. The arms are articulated at the shoulders.
It is dressed in a hand woven cotton robe. On custom base. Wood, cloth, brass. H 21in.
Exhibited at the Free Library Gallery Philadelphia 2011, the Pen and Brush Gallery
New York 2008, and the SMA Fathers Museum of African Art New Jersey 2010.
Published in Rosen/Rosen 2012 p.77.
Des.
FEMALE ROD PUPPET. Marka people, Mali. Hammered brass attached with nails to the face is reminiscent
of a Marka-style mask. The arms are articulated at the shoulders. It is dressed in a hand woven cotton robe. On
custom base. Wood, cloth, brass. H 21in. Exhibited at the Free Library Gallery Philadelphia 2011, the Pen and
Brush Gallery New York 2008, and the SMA Fathers Museum of African Art New Jersey 2010. Published in
Rosen/Rosen 2012 p.77.
3
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
11
1
BLOLO BIAN MALE SPIRIT SPOUSE FIGURE. Baule people, Ivory Coast. The
Baule believe that each person has a spirit spouse who helps solve personal and spiritual
problems. The Blolo Bian statue, representing that spirit, is kept in the person’s room
where it is offered libations. This finely carved example has elaborate body
scarifications. Wood, pigment. H 14.5in. See Bacquart 1998 pp.48-49. (See Lot#13).
Des.
BLOLO BIAN MALE SPIRIT SPOUSE FIGURE. Baule people, Ivory Coast. The Baule believe that each
person has a spirit spouse who helps solve personal and spiritual problems. The Blolo Bian statue,
representing that spirit, is kept in the person’s room where it is offered libations. This finely carved example
has elaborate body scarifications. Wood, pigment. H 14.5in. See Bacquart 1998 pp.48-49. (See Lot#13).
Lot #
Qty
Title
12
1
ANCIENT ROYAL SCEPTOR. Bamum people, Cameroon. Excavated at the site of a
Bamum royal palace. Spear form with points at each end. One point is decorated with a
turtle. Hand cast brass with oxidized patina. H 19.5in.
Des.
ANCIENT ROYAL SCEPTOR. Bamum people, Cameroon. Excavated at the site of a Bamum royal palace.
Spear form with points at each end. One point is decorated with a turtle. Hand cast brass with oxidized patina.
H 19.5in.
Lot #
Qty
Title
13
1
BLOLO BLA FEMALE SPIRIT SPOUSE. Baule people, Ivory Coast. Wood, pigment.
H 16.5in. (See Lot# 11).
Des.
BLOLO BLA FEMALE SPIRIT SPOUSE. Baule people, Ivory Coast. Wood, pigment. H 16.5in. (See Lot#
11).
Lot #
Qty
Title
14
1
ASAFO MILITIA FLAG (FRANKAA). Fante people, Ghana. This flag expresses the
proverb, “You claim to be a man, but we have weighed your load and found you to be
weak”. With this image, the Tuafo No 1 Asafo Company claims that it is stronger than a
rival Company. The flag is dated “28/02/85” and was commissioned by the Company’s
leader, Safohene Takyi. Cotton cloth with hand sewn appliquéd figures and
embroidered details. Identical images on both sides. Clothing of the Chief and the man
holding the scale is crushed velvet, an unusual feature. 62inx40.5in. Exhibited at the
Free Library Gallery Philadelphia 2012 and the SMA Father’s Museum of African Art
New Jersey 2013. Published in “Emblems of Power: Asafo Flags from Ghana” 2013 by
MS Rosen/PP Rosen p78. This 103 page book with detailed descriptions of this and
about 50 other Asafo flags and a detailed history of the Asafo militia tradition is
available ONLY from the authors at [email protected]. Also see attached
picture.
Des.
ASAFO MILITIA FLAG (FRANKAA). Fante people, Ghana. This flag expresses the proverb, “You claim to
be a man, but we have weighed your load and found you to be weak”. With this image, the Tuafo No 1 Asafo
Company claims that it is stronger than a rival Company. The flag is dated “28/02/85” and was commissioned
by the Company’s leader, Safohene Takyi. Cotton cloth with hand sewn appliquéd figures and embroidered
details. Identical images on both sides. Clothing of the Chief and the man holding the scale is crushed velvet,
an unusual feature. 62inx40.5in. Exhibited at the Free Library Gallery Philadelphia 2012 and the SMA
Father’s Museum of African Art New Jersey 2013. Published in “Emblems of Power: Asafo Flags from
Ghana” 2013 by MS Rosen/PP Rosen p78. This 103 page book with detailed descriptions of this and about 50
other Asafo flags and a detailed history of the Asafo militia tradition is available ONLY from the authors at
[email protected]. Also see attached picture.
4
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
15
1
MAN’S PRESTIGE (ADANUDO) CLOTH. Ewe people, Ghana. This cloth was
collected in 2005 from Kwame Amoh in a village near the town of Kpetoe, an Ewe
weaving center. Mr Amoh said he had owned it for many years and had worn it on
important occasions. It features a single warp pattern in all of the 19 strips and many
varied weft blocks. Single strips along each border lacking weft blocks illustrate the
earliest form of Ewe weaving. Hand woven, hand sewn cotton. 115inx68in.
Des.
MAN’S PRESTIGE (ADANUDO) CLOTH. Ewe people, Ghana. This cloth was collected in 2005 from
Kwame Amoh in a village near the town of Kpetoe, an Ewe weaving center. Mr Amoh said he had owned it
for many years and had worn it on important occasions. It features a single warp pattern in all of the 19 strips
and many varied weft blocks. Single strips along each border lacking weft blocks illustrate the earliest form of
Ewe weaving. Hand woven, hand sewn cotton. 115inx68in.
Lot #
Qty
Title
16
1
PRESTIGE SPOON. Dan people, Liberia. Spoons such as this were awarded to the
most hospitable and generous woman in a village. They were used to serve rice to
villagers during festivals. Wood. H 18in. See Bacquart 1998 pp 36-38.
Des.
PRESTIGE SPOON. Dan people, Liberia. Spoons such as this were awarded to the most hospitable and
generous woman in a village. They were used to serve rice to villagers during festivals. Wood. H 18in. See
Bacquart 1998 pp 36-38.
Lot #
Qty
Title
17
1
GOLDWEIGHTS(4). Ivory Coast. Mudfish, rooster with snake, stork, antelope. Hand
cast brass. 3in to 4in.
Des.
GOLDWEIGHTS(4). Ivory Coast. Mudfish, rooster with snake, stork, antelope. Hand cast brass. 3in to 4in.
Lot #
Qty
Title
18
1
KPELIYE FACE MASK. Senufo people, Ivory Coast. A chameleon is situated at the
top of this mask between two short antelope horns. There is a peg-like beard below the
mouth between two straight legs. This mask appears at Poro Society ceremonies. Wood,
pigment. H13.5in. See Bacquart 1998 p 74.
Des.
KPELIYE FACE MASK. Senufo people, Ivory Coast. A chameleon is situated at the top of this mask
between two short antelope horns. There is a peg-like beard below the mouth between two straight legs. This
mask appears at Poro Society ceremonies. Wood, pigment. H13.5in. See Bacquart 1998 p 74.
5
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
19
1
KENTE WRAPS (2). Ewe people, Ghana. (A) Woman’s wrap consisting of 13 hand
woven and hand sewn strips with 5 different warp stripe patterns. Multiple
representational designs known as “scriptures” including hands (x2), a man and bird, a
man holding a snake, and a man with a hat. Obtained in 2005 from Osei Kojo who said
it was then at least 65 years old. Cotton. 70inx42in. See Adler/Barnard 1992 Figs.
85-103. (B) Man’s robe made from 19 hand woven, hand sewn brown strips having a
red and white warp dot pattern and various weft blocks. There is one leaf-shaped
“scripture”. Collected from Artists Alliance Gallery Accra 2005. Cotton. 103inx59in.
Des.
KENTE WRAPS (2). Ewe people, Ghana. (A) Woman’s wrap consisting of 13 hand woven and hand sewn
strips with 5 different warp stripe patterns. Multiple representational designs known as “scriptures” including
hands (x2), a man and bird, a man holding a snake, and a man with a hat. Obtained in 2005 from Osei Kojo
who said it was then at least 65 years old. Cotton. 70inx42in. See Adler/Barnard 1992 Figs. 85-103. (B)
Man’s robe made from 19 hand woven, hand sewn brown strips having a red and white warp dot pattern and
various weft blocks. There is one leaf-shaped “scripture”. Collected from Artists Alliance Gallery Accra 2005.
Cotton. 103inx59in.
Lot #
Qty
Title
20
Des.
WARP IKAT MAN’S ROBE. Baule people, Ivory Coast. In the warp ikat method, sections of white warp
threads are wrapped to resist the dye before the threads are immersed in indigo dye. Plain brightly colored
weft threads are used to create the warp faced pattern. In this example made from 17 hand woven strips, the
selvedge edges of each strip have been finished off with bright lavender thread and the ends have a fine white
fringe. Cotton. 108inx72in. Ex Museum of African Art New York. See Gillow 2003 pp 76-77.
Lot #
Qty
Title
21
1
PENDANTS (5). Coptic Christian people, Ethiopia. Four variants of cross form and one
star. Silver-nickel alloy. 1.5in-3in.
Des.
PENDANTS (5). Coptic Christian people, Ethiopia. Four variants of cross form and one star. Silver-nickel
alloy. 1.5in-3in.
Lot #
Qty
Title
22
1
ELU FACE MASK. Ogoni people (?), Nigeria. The hair is arranged into 8 twisted
spikes. This mask is slightly larger than the typical Elu mask and may belong to a tribe
near the Ogoni. The lower jaw has a multitude of thin teeth. Wood, pigment. H 11in.
Exhibited at the Free library Gallery Philadelphia 2012. Published in Rosen/Rosen 2013
p 117. See Lot #7.
Des.
ELU FACE MASK. Ogoni people (?), Nigeria. The hair is arranged into 8 twisted spikes. This mask is
slightly larger than the typical Elu mask and may belong to a tribe near the Ogoni. The lower jaw has a
multitude of thin teeth. Wood, pigment. H 11in. Exhibited at the Free library Gallery Philadelphia 2012.
Published in Rosen/Rosen 2013 p 117. See Lot #7.
1
WARP IKAT MAN’S ROBE. Baule people, Ivory Coast. In the warp ikat method,
sections of white warp threads are wrapped to resist the dye before the threads are
immersed in indigo dye. Plain brightly colored weft threads are used to create the warp
faced pattern. In this example made from 17 hand woven strips, the selvedge edges of
each strip have been finished off with bright lavender thread and the ends have a fine
white fringe. Cotton. 108inx72in. Ex Museum of African Art New York. See Gillow
2003 pp 76-77.
6
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
23
1
NGIL FACE MASK. Fang people, Gabon. Worn by a member of the Ngil Society, the
mask has been painted white with kaolin clay to embody the spirits of ancestors.
Scarifications are represented on the forehead and cheeks. Wood, pigment. H 24.5in.
See Rosen/Rosen 2013 p 171.
Des.
NGIL FACE MASK. Fang people, Gabon. Worn by a member of the Ngil Society, the mask has been painted
white with kaolin clay to embody the spirits of ancestors. Scarifications are represented on the forehead and
cheeks. Wood, pigment. H 24.5in. See Rosen/Rosen 2013 p 171.
Lot #
Qty
Title
24
1
BOGOLAN (“MUD CLOTH”) TEXTILE. Bamana people, Mali. Made from 8 strips of
hand woven, hand sewn cotton “country cloth” characterized by thick strands of yarn.
This textile displays a stunning, colorful array of hand painted designs created with
earth tone pigments. Cotton. 70inx47in.
Des.
BOGOLAN (“MUD CLOTH”) TEXTILE. Bamana people, Mali. Made from 8 strips of hand woven, hand
sewn cotton “country cloth” characterized by thick strands of yarn. This textile displays a stunning, colorful
array of hand painted designs created with earth tone pigments. Cotton. 70inx47in.
Lot #
Qty
Title
25
1
RUFFLED DANCE SKIRT. Kuba people, Democratic Republic of Congo. This old
textile has a black cut pile border and characteristic hand embroidered designs on hand
woven raffia cloth. Raffia cloth, pigment. 72inx25in. See Clarke 1997 pp 46-63.
Des.
RUFFLED DANCE SKIRT. Kuba people, Democratic Republic of Congo. This old textile has a black cut
pile border and characteristic hand embroidered designs on hand woven raffia cloth. Raffia cloth, pigment.
72inx25in. See Clarke 1997 pp 46-63.
Lot #
Qty
Title
26
1
FACE MASK WITH OWL. Anang(Ibibio) people, Nigeria. A nocturnal animal with
large frontal eyes like humans, exceptionally keen eyesight, and silent flight, the owl is
associated with witchcraft and death. On this mask, the owl stands above a coiled snake,
possibly a reference to Mami Wata, a water spirit. The face is decorated with lines and
dots that are typical of Anang masks. Wood, paint. H 19in. Exhibited at the Free Library
Gallery Philadelphia 2012. See Rosen/Rosen 2013 p 153 for a similar example.
Des.
FACE MASK WITH OWL. Anang(Ibibio) people, Nigeria. A nocturnal animal with large frontal eyes like
humans, exceptionally keen eyesight, and silent flight, the owl is associated with witchcraft and death. On this
mask, the owl stands above a coiled snake, possibly a reference to Mami Wata, a water spirit. The face is
decorated with lines and dots that are typical of Anang masks. Wood, paint. H 19in. Exhibited at the Free
Library Gallery Philadelphia 2012. See Rosen/Rosen 2013 p 153 for a similar example.
7
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
27
1
RITUAL RATTLE. Dogon people, Mali. The head of a rooster graces this superb
example that was collected in the Bandiagara region of Mali near Mopti in 2005. The 12
rattle discs made from dried calabash shells have differing sizes and shapes that account
for the distinctive sound it makes when shaken. The Bandiagara region is noted for
beautiful cave paintings at the site where rattles such as this are used during initiation
ceremonies for boys. On custom base. Wood, calabash. H 17in.
Des.
RITUAL RATTLE. Dogon people, Mali. The head of a rooster graces this superb example that was collected
in the Bandiagara region of Mali near Mopti in 2005. The 12 rattle discs made from dried calabash shells have
differing sizes and shapes that account for the distinctive sound it makes when shaken. The Bandiagara region
is noted for beautiful cave paintings at the site where rattles such as this are used during initiation ceremonies
for boys. On custom base. Wood, calabash. H 17in.
Lot #
Qty
Title
28
1
WOMEN’S INDIGO WRAPS (3). Burkina Faso. All hand woven cotton cloth. Very
soft from repeated washing, and tie dyed. (A) Dafing people. Fish, porcupines and
various abstract designs. 70inx40in. (B) Gurunsi people (?) Checker board designs
composed of chevron-shaped dots. Deep indigo color with a X-design border at both
ends. Made from 15 narrow strips. 60inx50in. (C) Mossi people. Made from 7 strips
with 3 different designs composed of chevron-shaped dots including the checkerboard
pattern. Light and deep indigo strips. 56inx29in.
Des.
WOMEN’S INDIGO WRAPS (3). Burkina Faso. All hand woven cotton cloth. Very soft from repeated
washing, and tie dyed. (A) Dafing people. Fish, porcupines and various abstract designs. 70inx40in. (B)
Gurunsi people (?) Checker board designs composed of chevron-shaped dots. Deep indigo color with a
X-design border at both ends. Made from 15 narrow strips. 60inx50in. (C) Mossi people. Made from 7 strips
with 3 different designs composed of chevron-shaped dots including the checkerboard pattern. Light and deep
indigo strips. 56inx29in.
Lot #
Qty
Title
29
1
FACE MASK, Dan people, Liberia. This mask has the male characteristics of a beard
and large, round eyes encircled by metal discs. There are also metal teeth. The spirit of
the mask is “activated” by the nail in it’s forehead. Wood, pigment, raffia, metal. H
9.5in. See Rosen/Rosen 2013 p 22.
Des.
FACE MASK, Dan people, Liberia. This mask has the male characteristics of a beard and large, round eyes
encircled by metal discs. There are also metal teeth. The spirit of the mask is “activated” by the nail in it’s
forehead. Wood, pigment, raffia, metal. H 9.5in. See Rosen/Rosen 2013 p 22.
Lot #
Qty
Title
30
1
SICKLE-FORM CEREMONIAL THROWING KNIFE. Kirdi people, Chad/Cameroon.
Although considered a type of throwing knife, these weapons were only displayed on
ceremonial occasions where they were hand held or carried on a short staff inserted in
the socket. Given the primitive conditions under which blacksmiths worked, it required
great skill to forge the socket, twisted shaft, and flat bird head-shaped blade from a
single rod of native smelted iron. For this reason, an object such as this was a prized
possession. On custom base. H 16.5in. Exhibited at the Pen and Brush Gallery New
York 2006.
Des.
SICKLE-FORM CEREMONIAL THROWING KNIFE. Kirdi people, Chad/Cameroon. Although considered
a type of throwing knife, these weapons were only displayed on ceremonial occasions where they were hand
held or carried on a short staff inserted in the socket. Given the primitive conditions under which blacksmiths
worked, it required great skill to forge the socket, twisted shaft, and flat bird head-shaped blade from a single
rod of native smelted iron. For this reason, an object such as this was a prized possession. On custom base. H
16.5in. Exhibited at the Pen and Brush Gallery New York 2006.
8
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
31
1
GHANAIAN PUPPETS (2). (A) Ewe people. Hand puppet representing an elephant.
Collected from Gadede Gilbert, puppet maker, in Accra 2005. Can be displayed on a
capped bottle filled with water or sand. Calabash, printed Kente cloth, cowrie shells,
wood. H 15in. (B) Ashante people. String puppet of a woman carrying a load of
firewood on her head. She is dressed in a printed cotton blouse, skirt, and white sandals.
Multiple articulated joints moved by strings. On custom base. The stem of the base fits
into a socket in the back at the top of the skirt under the blouse. Wood, cloth, string,
leather, metal. H 16in.
Des.
GHANAIAN PUPPETS (2). (A) Ewe people. Hand puppet representing an elephant. Collected from Gadede
Gilbert, puppet maker, in Accra 2005. Can be displayed on a capped bottle filled with water or sand.
Calabash, printed Kente cloth, cowrie shells, wood. H 15in. (B) Ashante people. String puppet of a woman
carrying a load of firewood on her head. She is dressed in a printed cotton blouse, skirt, and white sandals.
Multiple articulated joints moved by strings. On custom base. The stem of the base fits into a socket in the
back at the top of the skirt under the blouse. Wood, cloth, string, leather, metal. H 16in.
Lot #
Qty
32
1
Title
DANCE SKIRT PANEL. Shoowa Kuba people, Democratic Republic of Congo. This
exquisite textile displays complex cut pile design elements with diamonds and triangles
in a criss cross pattern created by embroidery on hand woven raffia cloth. Raffia.
103.5inx20in. See Gillow 2003 pp 196-197.
Des.
DANCE SKIRT PANEL. Shoowa Kuba people, Democratic Republic of Congo. This exquisite textile
displays complex cut pile design elements with diamonds and triangles in a criss cross pattern created by
embroidery on hand woven raffia cloth. Raffia. 103.5inx20in. See Gillow 2003 pp 196-197.
Lot #
Qty
Title
33
1
JOLLY (pronounced Jollay) SOCIETY HELMET MASK. Temne or Lokko people,
Sierra Leone. Collected in 2003 from Cisse Amiata in Ropupu village. The helmet
portion of this mask has 4 Hindu-inspired faces typically found on Mami Wata-related
masks. The wearer peered through two small slits below one of the faces. A circular
hole cut in the mask for ventilations was partly obscured by the cloth costume.The
figure on top represents one of the acrobats who entertains at Jolly Society
masquerades. In Sierra Leone sculpture, the presence of a man above a female (here 4
females) refers to the power of women as expressed in the commonly used expression,
“woman tote man”. Brightly colored paints such as silver used here are common in Jolly
Society masks. Wood, paint. H 18in. Exhibited at the Free Library Gallery Philadelphia
2012. Published in Rosen/Rosen 2013 p 62. See attached text.
Des.
JOLLY (pronounced Jollay) SOCIETY HELMET MASK. Temne or Lokko people, Sierra Leone. Collected
in 2003 from Cisse Amiata in Ropupu village. The helmet portion of this mask has 4 Hindu-inspired faces
typically found on Mami Wata-related masks. The wearer peered through two small slits below one of the
faces. A circular hole cut in the mask for ventilations was partly obscured by the cloth costume.The figure on
top represents one of the acrobats who entertains at Jolly Society masquerades. In Sierra Leone sculpture, the
presence of a man above a female (here 4 females) refers to the power of women as expressed in the
commonly used expression, “woman tote man”. Brightly colored paints such as silver used here are common
in Jolly Society masks. Wood, paint. H 18in. Exhibited at the Free Library Gallery Philadelphia 2012.
Published in Rosen/Rosen 2013 p 62. See attached text.
9
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
34
1
ASAFO MILITIA FLAG (FRANKAA). Fante people, Ghana. This flag reflects the
patrilineal membership of an Asafo Company as expressed in proverbs such as, “It is
with one of its own family that the bird roosts”. The flag depicts a mother hornbill bird
(here a symbol of the Company elders) teaching three offspring (young Asafo Company
initiates) how to fly. Unusual features are the eccentric position of the images as well as
the brown and beige bands that frame them. The canton is a modified Union Jack in the
form of a cross. Entirely hand sewn. Cotton textile. 59inx43in. Exhibited at the Free
Library Gallery Philadelphia 2013, the SMA Fathers Museum of African Art New
Jersey 2015, and the University of Memphis Tennessee 2016. Published in “Emblems
of Power: Asafo Flags from Ghana” 2013 by MS Rosen/ PP Rosen p 82. This 103 page
book has detailed descriptions of this and about 50 other Asafo flags and a history of the
Asafo militia tradition. It is available ONLY from the authors at
[email protected]. See attached picture.
Des.
ASAFO MILITIA FLAG (FRANKAA). Fante people, Ghana. This flag reflects the patrilineal membership of
an Asafo Company as expressed in proverbs such as, “It is with one of its own family that the bird roosts”.
The flag depicts a mother hornbill bird (here a symbol of the Company elders) teaching three offspring (young
Asafo Company initiates) how to fly. Unusual features are the eccentric position of the images as well as the
brown and beige bands that frame them. The canton is a modified Union Jack in the form of a cross. Entirely
hand sewn. Cotton textile. 59inx43in. Exhibited at the Free Library Gallery Philadelphia 2013, the SMA
Fathers Museum of African Art New Jersey 2015, and the University of Memphis Tennessee 2016. Published
in “Emblems of Power: Asafo Flags from Ghana” 2013 by MS Rosen/ PP Rosen p 82. This 103 page book
has detailed descriptions of this and about 50 other Asafo flags and a history of the Asafo militia tradition. It
is available ONLY from the authors at [email protected]. See attached picture.
Lot #
Qty
Title
35
1
TWO SPEARS. Democratic Republic of Congo. (A) Mongo people. This is primarily a
prestige spear with a bell. Carrying this weapon indicated a person’s high rank in the
community as represented by the bell and copper wire twisted on the shaft. Wood, iron,
copper. H55in. (B) Kusu/Batella people (see original tag attached). From an old English
collection. The iron point is balanced by a wooden knob at the base. The insertion of the
iron shaft into the wood handle is wrapped with leather. Attached is an old C.B. Fenton
& Co shipping tag with the inventory number “B353/E32”. Spear dates from the late
19th century. Wood, iron, leather. H 47in.
Des.
TWO SPEARS. Democratic Republic of Congo. (A) Mongo people. This is primarily a prestige spear with a
bell. Carrying this weapon indicated a person’s high rank in the community as represented by the bell and
copper wire twisted on the shaft. Wood, iron, copper. H55in. (B) Kusu/Batella people (see original tag
attached). From an old English collection. The iron point is balanced by a wooden knob at the base. The
insertion of the iron shaft into the wood handle is wrapped with leather. Attached is an old C.B. Fenton & Co
shipping tag with the inventory number “B353/E32”. Spear dates from the late 19th century. Wood, iron,
leather. H 47in.
10
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
36
1
WEST AFRICAN HOES WITH AMULETS. (A) Songhai people, Niger/Mali. This is
referred to as an “iler” type of hoe. The iron wing-shaped hand forged blade is attached
to a hand forged iron shaft. The handle portion of the shaft is decorated with
amulet-inspired designs with 3 embedded brass bands that are intended to help the
farmer to reap an abundant harvest. The iler-form blade is very effective for farming in
the sandy soil of the southern Sahara or Sahel. The fine patina of the handle where the
inscribed designs have been partly effaced attests to the long use of this implement.
Iron, brass. H 55in. (B) Bamana people, Mali. This hoe was collected from a
“champion” farmer in Wereba village. The rectangular knob on the shaft is an amulet.
Fine patina on handle from use. Wood, iron. H 29in.
Des.
WEST AFRICAN HOES WITH AMULETS. (A) Songhai people, Niger/Mali. This is referred to as an “iler”
type of hoe. The iron wing-shaped hand forged blade is attached to a hand forged iron shaft. The handle
portion of the shaft is decorated with amulet-inspired designs with 3 embedded brass bands that are intended
to help the farmer to reap an abundant harvest. The iler-form blade is very effective for farming in the sandy
soil of the southern Sahara or Sahel. The fine patina of the handle where the inscribed designs have been
partly effaced attests to the long use of this implement. Iron, brass. H 55in. (B) Bamana people, Mali. This
hoe was collected from a “champion” farmer in Wereba village. The rectangular knob on the shaft is an
amulet. Fine patina on handle from use. Wood, iron. H 29in.
Lot #
Qty
Title
37
1
SIERRA LEONE BUNDU (SOWEI) HELMET MASK AND MEDICINE HEAD. (A)
Helmet mask, Sherbro people. Collected in 2004 from a village near Sumbaya. The
object on top that resembles an up-side-down table is an amulet. Three tiers of
additional medicine bundle amulets form part of the coiffure. The eyes are pierced by
horizontal slits. On custom base. H 16in. Exhibited at the Free Library Gallery
Philadelphia 2012. Published in Rosen/Rosen 2013 p48. (B) Medicine head, Mende
people. Collected from a village in the Kenema region in 2004. As free-standing objects
or situated on a cloth and wood body, medicine heads are altars women consult for
various issues including infertility. They are miniature solid replicas of Bundu helmet
masks. Wood, pigment. H 9in.
Des.
SIERRA LEONE BUNDU (SOWEI) HELMET MASK AND MEDICINE HEAD. (A) Helmet mask, Sherbro
people. Collected in 2004 from a village near Sumbaya. The object on top that resembles an up-side-down
table is an amulet. Three tiers of additional medicine bundle amulets form part of the coiffure. The eyes are
pierced by horizontal slits. On custom base. H 16in. Exhibited at the Free Library Gallery Philadelphia 2012.
Published in Rosen/Rosen 2013 p48. (B) Medicine head, Mende people. Collected from a village in the
Kenema region in 2004. As free-standing objects or situated on a cloth and wood body, medicine heads are
altars women consult for various issues including infertility. They are miniature solid replicas of Bundu
helmet masks. Wood, pigment. H 9in.
Lot #
Qty
Title
38
1
WOMAN’S INDIGO WRAP. Dogon people, Mali. Hand woven, hand sewn soft
exceptionally deep indigo textile with resist-dyed chevron-shaped designs. Cotton.
57.5inx43.5in. Ex Museum for African Art New York 2003.
Des.
WOMAN’S INDIGO WRAP. Dogon people, Mali. Hand woven, hand sewn soft exceptionally deep indigo
textile with resist-dyed chevron-shaped designs. Cotton. 57.5inx43.5in. Ex Museum for African Art New
York 2003.
11
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
39
1
MAMI WATA MASK. Yoruba people, western Nigeria near the Benin border. The
female face has puffed out cheeks decorated with scarifications, and bulging eyes. A
cloth band with a floral design tied in a bow surrounds her hair. The hair is braided and
drawn over her forehead where it is held by a tie. A serpent encircles her face ending in
a head with a gaping, tooth-lined mouth below her chin. The pupils of the woman’s eyes
and the eyes of the serpent are flashlight bulbs. Mami Wata is a water spirit related to
snakes. This mask was worn on top of the head, slightly pitched downward. It was
probably placed on a cloth pad that contained substances which attracted the insects that
damaged the interior. Wood, paint, flashlight bulbs. H 9in. Published in Rosen/Rosen
2013 p 134.
Des.
MAMI WATA MASK. Yoruba people, western Nigeria near the Benin border. The female face has puffed
out cheeks decorated with scarifications, and bulging eyes. A cloth band with a floral design tied in a bow
surrounds her hair. The hair is braided and drawn over her forehead where it is held by a tie. A serpent
encircles her face ending in a head with a gaping, tooth-lined mouth below her chin. The pupils of the
woman’s eyes and the eyes of the serpent are flashlight bulbs. Mami Wata is a water spirit related to snakes.
This mask was worn on top of the head, slightly pitched downward. It was probably placed on a cloth pad that
contained substances which attracted the insects that damaged the interior. Wood, paint, flashlight bulbs. H
9in. Published in Rosen/Rosen 2013 p 134.
Lot #
Qty
Title
40
1
WINGED PLANK MASK. Bwa people, Burkina Faso. Representing a bird or a
butterfly, this mask embodies the spirit of nature and the rebirth that accompanies rains
after the dry season. It appears at initiations ceremonies, funerals, and festivals. Wood,
pigment. H 58in. Exhibited at the Free Library Gallery Philadelphia 2012. Published in
Rosen/Rosen 2013 p 106.
Des.
WINGED PLANK MASK. Bwa people, Burkina Faso. Representing a bird or a butterfly, this mask embodies
the spirit of nature and the rebirth that accompanies rains after the dry season. It appears at initiations
ceremonies, funerals, and festivals. Wood, pigment. H 58in. Exhibited at the Free Library Gallery
Philadelphia 2012. Published in Rosen/Rosen 2013 p 106.
Lot #
Qty
Title
41
1
WOMEN’S CLOTH (2). Ashante people, Ghana. (A) Collected in 2004 in Bonwire
village, an Ashante weaving center. Said to have been woven by Opanin Kwame Kesse
and estimated to be approximately 80 years old at that time. According to our
informant, this is half of a larger man’s cloth that was divided by a Chief’s family after
his death because they couldn’t decide who should get the whole cloth. The warp design
consisting of a centered single white line on an indigo field is called “Ankonam”,
meaning “I walk alone”. It symbolizes self motivation and independence. Made from 14
hand woven, hand sewn strips. Cotton, silk (in weft blocks).76inx44in. (B) Collected in
Bonwire. The warp design of 6 white lines on an indigo field is called “Apea Akobi” in
honor of a weaver of this name who lived and worked in Bonwire around 1750.
Although not restricted today, cloth with this warp design was only worn by the
Ashante King until early in the 20th century. It is made from 14 hand woven, hand sewn
strips. Cotton, silk (in weft blocks) 81inx46in. See Adler/Barnard 1993 p164.
Des.
WOMEN’S CLOTH (2). Ashante people, Ghana. (A) Collected in 2004 in Bonwire village, an Ashante
weaving center. Said to have been woven by Opanin Kwame Kesse and estimated to be approximately 80
years old at that time. According to our informant, this is half of a larger man’s cloth that was divided by a
Chief’s family after his death because they couldn’t decide who should get the whole cloth. The warp design
consisting of a centered single white line on an indigo field is called “Ankonam”, meaning “I walk alone”. It
symbolizes self motivation and independence. Made from 14 hand woven, hand sewn strips. Cotton, silk (in
weft blocks).76inx44in. (B) Collected in Bonwire. The warp design of 6 white lines on an indigo field is
called “Apea Akobi” in honor of a weaver of this name who lived and worked in Bonwire around 1750.
Although not restricted today, cloth with this warp design was only worn by the Ashante King until early in
the 20th century. It is made from 14 hand woven, hand sewn strips. Cotton, silk (in weft blocks) 81inx46in.
See Adler/Barnard 1993 p164.
12
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
42
1
FACE MASK. Anang (Ibibio) people, Nigeria. The man with parted hair seated astride
this mask appears to be a European, possibly a celebrity. His identity would be revealed
by the dance and accompanying song when it was worn. An interesting but unexplained
oddity is the deliberate absence of the man’s feet. The missing left arm and hand
probably held a snake. Despite this loss, the mask has an interesting presence. The face
has Hindu-inspired features typical of Mami Wata sculptures. The interior shows
extensive wear from use. Wood, paint, nails. H 21.5in. Published in Rosen/Rosen 2013
p 146.
Des.
FACE MASK. Anang (Ibibio) people, Nigeria. The man with parted hair seated astride this mask appears to
be a European, possibly a celebrity. His identity would be revealed by the dance and accompanying song
when it was worn. An interesting but unexplained oddity is the deliberate absence of the man’s feet. The
missing left arm and hand probably held a snake. Despite this loss, the mask has an interesting presence. The
face has Hindu-inspired features typical of Mami Wata sculptures. The interior shows extensive wear from
use. Wood, paint, nails. H 21.5in. Published in Rosen/Rosen 2013 p 146.
Lot #
Qty
43
1
Title
ARON ARABAI MASK. Temne people, Sierra Leone. Temne masks such as this made
from hammered brass are exceedingly rare. They represent the guardian spirit of a Chief
and his clan. This mask is exceptional because of the extensive embossed designs. It is
thought that the brass face was attached to a helmet mask. This mask was collected in
2004. Brass. H 11in. Exhibited at the Free Library Gallery Philadelphia 2012. Published
in Rosen/Rosen 2013 p 32. See W.A. Hart “Aron Arabai: The Temne Mask of
Chieftancy” in African Arts 1986; 19: 41-45, 91 (copy attached).
Des.
ARON ARABAI MASK. Temne people, Sierra Leone. Temne masks such as this made from hammered brass
are exceedingly rare. They represent the guardian spirit of a Chief and his clan. This mask is exceptional
because of the extensive embossed designs. It is thought that the brass face was attached to a helmet mask.
This mask was collected in 2004. Brass. H 11in. Exhibited at the Free Library Gallery Philadelphia 2012.
Published in Rosen/Rosen 2013 p 32. See W.A. Hart “Aron Arabai: The Temne Mask of Chieftancy” in
African Arts 1986; 19: 41-45, 91 (copy attached).
Lot #
Qty
Title
44
1
FRANKAAKITSANYI DANCE SKIRT. Fante people, Ghana. The Asafo Militia flag
(frankaa) is carried in battle and during ceremonial processions by specially trained
members of the Company (frankaaakitsanyi) who will protect the flag with their lives
and perform acrobatic feats with the flag on ceremonial occasions. Referred to as “flag
dancers”, these men wear a traditional grass skirt that has bells and cowrie shells
attached to the waist band. These skirts have important ritual significance and are rarely
available to collectors. Raffia, grass, bells, cowrie shells. 32in.x23in. Exhibited at the
Free Library Gallery Philadelphia 2013 and the SMA Fathers Museum of African Art
2014. Published in “Emblems of Power: Asafo Flags from Ghana” 2013 p 50. This
book is ONLY available from the authors at [email protected]. See attached
image.
Des.
FRANKAAKITSANYI DANCE SKIRT. Fante people, Ghana. The Asafo Militia flag (frankaa) is carried in
battle and during ceremonial processions by specially trained members of the Company (frankaaakitsanyi)
who will protect the flag with their lives and perform acrobatic feats with the flag on ceremonial occasions.
Referred to as “flag dancers”, these men wear a traditional grass skirt that has bells and cowrie shells attached
to the waist band. These skirts have important ritual significance and are rarely available to collectors. Raffia,
grass, bells, cowrie shells. 32in.x23in. Exhibited at the Free Library Gallery Philadelphia 2013 and the SMA
Fathers Museum of African Art 2014. Published in “Emblems of Power: Asafo Flags from Ghana” 2013 p 50.
This book is ONLY available from the authors at [email protected]. See attached image.
13
A Curated Auction from the Rosen African Art Collection in New York Ending 4/9
Lot #
Qty
Title
45
1
KASSA WEDDING BLANKET. Peul (Fulani) people, Timbuktu region of northern
Mali. Made from 8 hand woven, hand sewn stripes with bands of indigo weft designs.
The use of weft threads of differing off white shades and thicker warp threads give the
blanket a subtle, interesting texture. This textile would provide a dramatic accent in a
contemporary design setting. Cotton. 99inx58in.
Des.
KASSA WEDDING BLANKET. Peul (Fulani) people, Timbuktu region of northern Mali. Made from 8 hand
woven, hand sewn stripes with bands of indigo weft designs. The use of weft threads of differing off white
shades and thicker warp threads give the blanket a subtle, interesting texture. This textile would provide a
dramatic accent in a contemporary design setting. Cotton. 99inx58in.
Lot #
Qty
Title
46
1
YANGALEYA FACE MASK. Ligbi people, Ivory Coast/Ghana. This mask represents
the hornbill, a bird with a strong beak and mythical qualities for members of the Do
Society. H 13in. Published in Rosen/Rosen 2013 p 31.
Des.
YANGALEYA FACE MASK. Ligbi people, Ivory Coast/Ghana. This mask represents the hornbill, a bird
with a strong beak and mythical qualities for members of the Do Society. H 13in. Published in Rosen/Rosen
2013 p 31.
Lot #
Qty
Title
47
1
JOLLY (pronounced Jollay) SOCIETY FACE MASK. Temne people, Sierra Leone.
Representing a beautiful woman, this mask has a coiffure of abundant synthetic brown
hair embellished with various items including beads, jewelry, and mirrors that protect
the wearer against evil spirits. A small wooden antelope head is attached to the hair
above the forehead. The male wearer of this mask would have been disguised by the
colorful print cloth hanging below the mask. Because the mask is supported by a wire
armature that fits over the wear’s head, it can be considered a ‘wire bender” mask. On
custom base. Wood, paint, cloth, synthetic hair, decorative objects. H 13.5in (exclusive
of cloth). Published in Rosen/Rosen 2013 p 88. See attached text.
Des.
JOLLY (pronounced Jollay) SOCIETY FACE MASK. Temne people, Sierra Leone. Representing a beautiful
woman, this mask has a coiffure of abundant synthetic brown hair embellished with various items including
beads, jewelry, and mirrors that protect the wearer against evil spirits. A small wooden antelope head is
attached to the hair above the forehead. The male wearer of this mask would have been disguised by the
colorful print cloth hanging below the mask. Because the mask is supported by a wire armature that fits over
the wear’s head, it can be considered a ‘wire bender” mask. On custom base. Wood, paint, cloth, synthetic
hair, decorative objects. H 13.5in (exclusive of cloth). Published in Rosen/Rosen 2013 p 88. See attached text.
14