Héritage Galerie - Art Africain Traditionnel

Tsogho Mbumba Bwiti reliquary figure - €295.00

Mbumba Bwiti reliquary statues such as this one are ritual artifacts associated with the Tsogho people of Gabon, and perhaps even the Sango or Sangu. These wooden figures, often embellished with copper or brass leaf, as seen in the example presented here, serve as guardians of ancestral relics, particularly bones, preserved in special baskets or boxes.

Their role is to facilitate communication with the ancestors and ensure their protection over the community.

Bwiti is a spiritual practice originating in Gabon, particularly among the Tsogho, Mahongwé, and Fang peoples.
It is an initiation rite centered on the ingestion of iboga, a plant with hallucinogenic properties, allowing initiates to access visions and deep knowledge of their existence and the spiritual world. Bwiti incorporates elements of animism, ancestor worship, and, in some cases, Christianity, reflecting a religious syncretism.

Bwiti ceremonies are led by a spiritual guide, the N'ganga, and include songs, dances, and the use of traditional instruments such as the Ngombi harp. These rituals, often nocturnal and lasting several days, play a central role in social cohesion and the transmission of cultural values within Gabonese communities.

Bwiti mbumba figures are therefore intrinsically linked to these practices, symbolizing the continued presence of ancestors and their benevolent influence on the living. They illustrate the richness of Gabonese ritual art and the importance placed on the link between the material and spiritual worlds.

A reliquary guardian in this style was published in "Tsogho, les Icônes du Bwiti," Paris, B. Dulon.

Dogon Tellem figure - PRIVATE - €2,380.00

A magnificent example of one of the finest pieces of African art: Tellem statuary (proto-Dogon).

The traditional Tellem statues, produced by the first inhabitants of the Bandiagara Escarpment in Mali, constitute one of the oldest surviving examples of African tribal art in wood, dating primarily from the 11th to the 15th centuries.
The term "Tellem," meaning "those who were here before us" in the Dogon language, refers to this mysterious people who preceded the Dogon settlement in this rugged region.
Their art, discovered in caves and rock shelters, is characterized by stylized forms, elongated volumes, and a thick, dark, crusty patina, the result of centuries spent in extreme climatic conditions and repeated rituals.

One of the most striking features of Tellem statuary is the posture of the arms outstretched towards the sky, as seen on this example.

This gesture, later adopted by the Dogon, is interpreted as a supplication: it can symbolize a call for rain, essential for agriculture in this semi-arid region, or a prayer addressed to ancestors and deities for protection and fertility. According to some sources, this posture also evokes communication with the world of spirits and the deceased, the raised arms forming a kind of bridge between earth and sky, between the living and the invisible forces. It also recalls the Dogon myth of the Nommo, ancestral spirits linked to the creation of the world and the cosmic order.

The thick, crusty patina covering these statues is the result of several phenomena: prolonged exposure to the smoke of ritual fires, libations (liquid offerings), anointing with oils and sacrificial blood, as well as natural erosion due to the humidity of the caves.

This patina is not only a sign of age, but also the tangible trace of religious practices and sacrifices that activated the object's spiritual power.
Scientific analyses of these patinas have revealed the presence of organic and mineral residues, confirming their intensive ritual use and their central role in the social and religious life of the Tellem people.

The artistic heritage of the Tellem profoundly influenced Dogon statuary, notably through the adoption of motifs and postures, but also through the sacred and initiatory dimension associated with these objects. Today, Tellem statues are considered treasures of ancient African art, sought after for their rarity, their understated beauty, and their historical significance.

This remarkable statue comes from the collection of B. Berete, a highly experienced dealer and collector who worked in Switzerland, Belgium, and the United States, notably with Pierre Dartevelle.

Bwaka Figure - €190.00

African statues and traditional Bwaka art objects, originating from the peoples primarily located in the Democratic Republic of Congo and the Central African Republic, occupy a central place in the spiritual and social practices of these communities. Their art, characterized by a restrained yet expressive aesthetic, is distinguished by geometric forms and stylized features, reflecting profound symbolism.

In their traditional context, these statues are first and foremost instruments of protection and healing. They are used in rituals intended to ward off illnesses, curses, or malevolent forces that could threaten individuals or the community. Placed in sanctuaries or handled by diviners and healers, they become essential tools in ceremonies aimed at restoring balance and harmony.

Bwaka objects also play a key role in divination, serving as intermediaries between the visible and invisible worlds. The anthropomorphic figures, often meticulously sculpted, are consulted to resolve conflicts, interpret dreams, or guide important decisions. Their presence is essential during sessions where the words of ancestors or spirits must be heard and understood.

Furthermore, these statues accompany significant moments in social life, particularly rites of passage such as initiations or funerals. They symbolize the transition between different states of existence, guiding the living and honoring the deceased.

Songye Nkishi power figure - €485.00

African Art Songye: Power

African fetish with a ringed neck, probably from the Lubefu and Lomami region. The neck is very long, the cap hairstyle is thrown back, the eyes are represented by cowries.

Conjugation of both ritual and worship, these statues called mankishi (nkishi in the singular) also have a cosmic dimension whose energies are closely linked.
They are the work of the sculptor, the blacksmith and the nganga. The latter, a ritual specialist, has beneficial and protective powers which are far superior to the evil magic of sorcerers, whose secrets they also know, and which allow them, among other things, to thwart the manipulations of mikishi (wandering spirits become evil).

The nganga makes a bwanga, object or amalgam of objects, depending on the objective to be achieved, whether it is protection, healing, procreation ... These are the incorporated charges, called bishimba, and of which only the nganga knows. the secret and the composition, which will allow the achievement of the desired effect.
Nkishi is a special form of bwanga. Statues over 60cm (the largest can reach 130cm) are meant to protect the community, while the smaller ones are mankishi related to personal protection.

In African art, the Songye styles are extremely varied, including the Belande, the Eki, the Kalebwe, the Nsapo-Nsapo and the Milembwe. The most remarkable effigies are made of wood, metal, nails, rivets, shells, feathers, skins, bones… and of course, have their magical charges.

Zande figure of the Mani - €195.00

The Zande Mani statues, originating from the Zande (or Azande) people of northern Congo and the Central African Republic, are wooden sculptures with clean lines and harmonious proportions. These traditional figures, often of medium size, generally represent ancestors or idealized figures, characterized by stylized features, a slender torso, and a hieratic posture.

They played a central role in rituals of protection, divination, and ancestor worship. Placed in family shrines or used by diviners, these statues served as intermediaries between the living and the spirit world, allowing people to invoke the help of ancestors to resolve conflicts, ensure fertility, or ward off misfortune.

The Zande attributed a vital force to these works, reinforced by the addition of magical substances or metals.

Their understated aesthetics and sacred function make them striking testimonies to Zande spirituality and art, where every sculptural detail carries symbolic and social significance.

Baule figure - €190.00

A finely carved Baule statue of a woman with a prominent abdomen.

The Baoulé are a major ethnic group within the Akan family, residing primarily in the central region of Côte d'Ivoire. Their art, and more specifically their sculpture, is among the most refined in West Africa.
This artistic production plays a central role in the spiritual practices and social rituals of the Baoulé, serving to establish a connection with the spiritual world and to express profound cultural values. Baoulé sculptures are not only works of art, but also repositories of collective memory and instruments of spiritual and social transmission.

Unlike other, more stylized sculptural traditions in African art, Baoulé sculptures feature a detailed representation of human features—particularly eyes, noses, and mouths—which lends an intensity to the expression of the statues.

Baoulé statuary is not simply an aesthetic expression: it is first and foremost a spiritual tool used in rites of passage, funeral ceremonies, and religious practices. These sculptures are representations of ancestors or protective spirits, serving to connect the living to supernatural forces.

Initiation and spiritual rites: During initiation rites, Baoulé statues play an essential role, symbolizing the spiritual transformation of young men and women, marking their passage from childhood to adulthood. The sculptures also represent tutelary deities or ancestors to whom initiates must pay homage.

Funerals and ancestor worship: The sculptures, often placed near tombs, serve to honor the deceased and maintain a connection with the ancestors, facilitating their passage to the afterlife and ensuring the protection of the living. These statues are considered intermediaries between the two worlds.

Representation of royalty: Sculpted heads or statues of dignitaries emphasize the spiritual and political power of those who represent them. In this context, sculpture becomes a symbol of legitimacy and divine sovereignty, which is particularly significant in Baoulé culture where the chief embodies an intermediary figure between humans and deities.

Mama figure - €400.00

Mama Kantana Figure – Northern Benue Region, Cameroon / Nigeria

This rare and ancient African figure originates from the northern Benue region, a major cultural area located in northern Cameroon and extending into neighboring Nigeria. It belongs to the sculptural tradition of the Mama (Kantana) people, while also showing clear stylistic affinities with the Kaka ethnic group, who share the same geographical area and closely related ritual practices.

The sculpture is characterized by a deliberately massive, compact, and frontal body, a hallmark of figures from this region. The face, highly expressive, displays a subtly heart-shaped form, carefully balanced and finely carved, giving the figure a presence that is both gentle and powerful. The features are restrained and confident, reflecting the sculptor’s masterful understanding of volume and proportion.

The thick, crusty patina, deeply embedded in the surface of the wood, bears witness to long ritual use and significant age. Covering the entire figure, it enhances both the authenticity and visual strength of the sculpture, offering a vibrant, living surface highly sought after by experienced collectors. The female figure openly displays her sexual attributes, emphasizing themes of fertility, fecundity, and transmission, which are central to the belief systems of the region.

Rare, ancient, and unquestionably authentic, this Mama Kantana statue stands out for the quality of its carving, the intensity of its presence, and the harmony of its proportions. It fully embodies the symbolic and aesthetic power of early African art, where every form carries meaning.

A true masterpiece of restraint and strength, this sculpture is an exceptional addition to any serious collection, appealing equally to seasoned collectors and to newcomers drawn to the emotional force of traditional African art.

Luba Mboko Bowl Bearer Figure - €220.00

Luba Mboko bowl bearer figure, Democratic Republic of the Congo

Intended for the collector seeking a genuine work of quality, combining authenticity, stylistic coherence, and documented provenance, this remarkable Luba bowl bearer figure, attributed to the Mboko subgroup, stands out for its highly refined stylization and strong formal presence. Carved from dense wood with an old, well-developed patina, it depicts a seated female figure holding a ceremonial bowl with both hands, presented in a frontal posture marked by restraint and dignity.

The sculpture is distinguished by a subtle and controlled treatment of volumes: the elongated torso, delicately modeled breasts, sloping shoulders, and seated position with folded legs reveal a masterful sense of balance and proportion. The face, elongated and serene, features finely incised details, half-closed eyes, and a slightly open mouth, giving the figure an introspective expression characteristic of Luba aesthetics. The elaborate coiffure, structured with incised geometric motifs, along with the decorative scarification patterns visible on the body, reinforces the symbolic and stately dimension of the work.

The bowl, carefully integrated into the composition, is not a mere accessory but a central element of the sculpture. Among the Luba, bowl bearer figures were closely associated with concepts of power, memory, and transmission. They were used in ritual and political contexts, particularly in connection with royal authority and initiation societies, serving to contain sacred substances, offerings, or objects linked to the legitimization of authority and communication with ancestors.

Luba bowl bearer figures are among the most emblematic and sought-after sculptures of Central African art. Early examples displaying strong stylistic coherence, authentic patina, and minimal restoration are today rare and highly valued by collectors and institutions alike. The Mboko subgroup is especially known for the sobriety of its forms, the contained tension of its postures, and the clarity of its symbolic language.

This sculpture comes from a Belgian private collection assembled during the 20th century and preserved in a strictly private setting. It has been carefully maintained and kept away from prolonged public display, which accounts for the quality of its surface and the depth of its patina.

Through its formal elegance, symbolic strength, and quality of execution, this Luba Mboko bowl bearer figure stands as a major work, fully embodying the Luba conception of memory, authority, and transmission. It represents a compelling acquisition for an informed collector as well as for an institutional or museum collection, and immediately inspires admiration through its quiet and timeless presence.

Songye Nkishi power figure - €3,500.00

This major Songye power figure, nkishi, stands out for its strong sculptural presence and particularly refined execution. Coming from the private collection of Bob Berete, a historic and widely respected figure in the tribal art market, this work belongs to a lineage of important discoveries that have entered leading museums and prestigious private collections. Such provenance gives the piece exceptional artistic and documentary value.

The sculpture displays a powerful vertical structure, dominated by a head with firm, balanced volumes, topped by a crest-like element that reinforces its spiritual authority. The face, with its controlled and geometric features, conveys vigilance and restraint. The compact torso is centered around a ventral cavity, a key element of mankishi figures, intended to contain the magical substances that activate their power. The presence of beads, nails, and ritual materials attests to sustained and effective ritual use. The deep, dark patina results from repeated handling and the application of ritual substances.

Among the Songye, the nkishi played a central role in social and spiritual regulation. It was used for protection, justice, healing, and the maintenance of community balance. Activated by a nganga, the figure embodied an autonomous force capable of addressing threats and restoring order. Both a sculptural masterpiece and an active spiritual entity, this Songye nkishi powerfully expresses the symbolic depth and formal excellence of Central African art.

Nyamwezi Figure - €180.00

Tanzanian statuary is primarily represented by wood carvings from indigenous peoples, including the well-known Nyamwezi.

This female Nyamwezi statue was likely used in funerary rites.