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African Art Gallery

The African Art Gallery is located in the library in the basement of building 7.

This collection was donated to Sinclair by Campus Architect Peter Capone in 1979. At the time, Mr. Capone was president of Edward Durrell Stone and Associates, architects of the Sinclair campus. The collection consists of 29 pieces representing 12 West African kingdoms from the countries now called Burkina Faso, Cameroon, Côte d'Ivoire, Liberia, Mali, and Nigeria. The exhibit was dedicated in 1982, reinstalled in its current exhibition cases in 1998, and moved to its present location in the library in 2007. 


House Post with Figures

House Post with Figures

Culture: Bamileke
Origin: Cameroon Grassfields

Wood with Pigment
89.5" h. x 6.5" x 1"
1979.1.1 and 1979.1.2
Donor: Peter Capone
Location: LRC Mezzanine

Both of these posts, carved in high relief with human figures representing the royal ancestors, were used to decorate the palace of the Fon (king).


N' Tomo Face Mask

N'Tomo Face Mask

Culture: Bamana
Origin: Mali

Wood
25" h. x 7" x 6"
1979.1.3
Donor: Peter Capone
Location: LRC Mezzanine

N'Tomo is a mutual aid society committed to the social and religious education of uncircumcised young boys. This N'Tomo mask would be worn during the initiation ceremonies or when begging for rice during the dry season.


Basketry Cap and Grass Cloth Mane

Basketry Cap and Grass Cloth Mane

Culture: Bamana
Origin: Mali

Hair / Fiber
50" h. x 10" x 3"
1979.1.4
Donor: Peter Capone
Location: LRC Mezzanine

This basketry cap and grass cloth mane is an attachment for a Chi Wara head-dress. It would be worn with a stylized antelope attached to the top and utilized in a dance that symbolizes Chi Wara, a legendary being who taught mankind to cultivate the land with digging sticks. The dance imitates the play of antelopes, calling earth spirits and insuring the fertility of the fields.


Kpelie Mask

Kpeliye'e (Face Mask)

Culture: Senufo
Origin: Côte d'Ivoire

Wood with Metal, Mirror, Cowry Shells
37" h. x 17" x 8.5"
1979.1.5
Donor: Peter Capone
Location: LRC Mezzanine

This mask representing female spirits, is worn by male dancers during rituals associated with Sandogo, a female religious society. The python and chameleon represent the female diviner's spiritual powers. The horns are those of the buffalo. The Senufo word for buffalo also refers to events and medicine that are part of the ceremonial cycle.


Horned Face Mask

Horned Face Mask

Culture: Kran/Guere
Origin: Liberia/
Côte d'Ivoire
Wood with String, Hair, Cowries, Paint
16" h. x 7" x 5.5"
1979.1.6
Donor: Peter Capone
Location: LRC Mezzanine

This dance mask would represent an antelope-type character in a village masquerade and has a similar, elegant carving style as the Guro.


Iron Sword with Wooden Handle

Iron Sword and Scabbard

Culture: Bamum
Origin: Cameroon Grassfields

Sculpture
43" h. x 12" x 3"
1979.1.7
Donor: Peter Capone
Location: LRC Mezzanine

This iron sword with wooden handle and leather scabbard would indicate the status of the owner by the amount of decoration on the scabbard. Swords worn by the rulers of grassland kingdoms show the degree of skill achieved by the Tikar blacksmiths who settled in the northern grasslands.


Janus Figure

Two-Faced Figure

Culture: Bamana
Origin: Mali

Wooden Sculpture
38" h. x 8" x 7"
1979.1.8
Donor: Peter Capone
Location: LRC Mezzanine

This double-faced figure was possibly used as part of a theatrical performance that included puppets and music.


House of the Head Image

House of the Head or Ile Ori I

Culture: Yoruba
Origin: Nigeria

Mixed Media
13" h. x 11" x 9"
1979.1.9
Donor: Peter Capone
Location: LRC Mezzanine

The Yoruba believe that the head is the source of character and destiny. This basket-like container with a separate lid would have been used to hold symbols of a person's spiritual essence or individuality. The ibori, or lid, represents the spirit's link to the otherworld.


Seated Male Figure

Seated Male Figure

Culture: Senufo 
Origin: 
Côte d'Ivoire
Wooden Sculpture
13.5" h. x 6" x 6.5"
1979.1.10
Donor: Peter Capone
Location: LRC Mezzanine

This small, encrusted wood figure represents a bush spirit. Once clothed in a sacred cloth called fila, it occupied a place of honor in a diviner's shrine.


Deguele Mask with Figure Crest

Deguele Mask with Figure Crest

Culture: Senufo
Origin: 
Côte d'Ivoire
Wood
29" h. x 8.5" x 9.5"
1979.1.11
Donor: Peter Capone
Location: LRC Mezzanine

This wooden Deguele helmet mask is part of a pair used along with a male counterpart in the secret ceremonies of the male Poro association. The masks came out at night for the funeral rites of the society's members. The design on the figure represents the symbolic winding sheets that were worn by the dancers and then discarded on the grave as the participants fled.


Carved Door Lock

Carved Door Lock

Culture: Dogon
Origin: Mali

Wood with Steel
20" h. x 12" x 3"
1979.1.12
Donor: Peter Capone
Location: LRC Mezzanine

This carved, two-piece door lock would have been attached to the panels of a granary door. The lock insured physical and supernatural protection.


Female Figure Musical Instrument

Female Figure Trumpet

Culture: Bamileke
Origin: Cameroon Grassfields

Wood with Pigment
28" h. x 6" x 6.5"
1979.1.13
Donor: Peter Capone
Location: LRC Mezzanine

This carved wooden trumpet in the form of a female figure was used in funerary ceremonies.


Four Piece Door Post & Lintel Set

Four-Piece Door Post and Lintel Set

Culture: Bamileke
Origin: Cameroon Grassfields

Wooden Sculpture with Relief
94.5" h. x 39" x 7.75"
1979.1.14
Donor: Peter Capone
Location: LRC Mezzanine

Carved posts and lintels decorated the doorways of the prominent. This four-piece set has relief carvings of highly stylized spiders, which indicate divine knowledge. The spider is seen as a vital link between this world and the ancestors.


Standing Female Figure

Female Poro Figure

Culture: Senufo
Origin: 
Côte d'Ivoire
Wood with Raffia
42" h. x 7" x 6"
1979.1.15
Donor: Peter Capone
Location: LRC Mezzanine

Sculptures called Debele, short for madebele or 'bush spirit,' are used by dancers to pound the ground in time to a drumbeat.  Used by the Poro society, they symbolize fertility or abundance.


Face Mask with Super Structure Form of Female Figure

Karan-wemba (Face Mask)

Culture: Mossi
Origin: Burkina Faso

Wood with Pigment
39.5" h. x 6.75" x 5.5"
1979.1.16
Donor: Peter Capone
Location: LRC Mezzanine

Karan-wemba masks represent a female ancestor spirit who returns to earth to ensure that rites are properly carried out. They are stored in the clan house, occasionally brought out to serve as altars and honor deceased elders.


GranaryDoor Carved in Relief with Human Figures

Granary Door 

Culture: Dogon
Origin: Mali

Encrusted Wood
28.5" h. x 8.5" x 1"
1979.1.17
Donor: Peter Capone
Location: LRC Mezzanine

Granaries were located in the courtyard of the principal residence of the extended family. Used to store surplus crops, the doors were covered with rows of male and female twins repeated in series and symbolized fertility and ongoing abundance. They insured physical and supernatural protection.


Face Mask

Dan Mask

Culture: Dan
Origin: Liberia

Wood with Pigment and Reed
10.5" h. x 8.5" x 6"
1979.1.18
Donor: Peter Capone
Location: LRC Mezzanine

Dan masks vary in style and use. The more exaggerated masks represent male forest spirits and are often covered with fur, feathers, and horns. They're used in lively performances meant to teach proper behavior.


Stylized Female Sculpture

Stylized Female Sculpture

Culture: Unknown
Origin: West Africa

Wood
34" h. x 8" x 5"
1979.1.19
Donor: Peter Capone
Location: LRC Mezzanine

This piece is similar to the male and female pairs known as "children of Poro," the highly stylized lower portion may have held charms or natural/spiritual materials.


Portrait Mask

Portrait Mask

Culture: Baule
Origin: 
Côte d'Ivoire
Wood
13" h. x 6.5" x 4.5"
1979.1.20
Donor: Peter Capone
Location: LRC Mezzanine

The scarification and style of hairdressing on this mask are indicative of a specific individual. Portrait masks were used in Mblo dances where dancers representing animals or humans would culminate the dance by honoring the community's most admired member.


Female Alter Figure

Female Altar Figure

Culture: Dogon
Origin: Mali

Blackened Wood
19" h. x 3" x 3.5"
1979.1.21
Donor: Peter Capone
Location: LRC Mezzanine

The posture of the figure suggests a way of communicating with a deity. The arms over the head indicate that the worshiper is praying for rain.


House of the Head II

House of the Head or Ile Ori II

Culture: Yoruba
Origin: Nigeria

Leather, Cloth, Cowries, Mirrors
13" h. x 11" x 9"
1979.1.22
Donor: Peter Capone
Location: LRC Mezzanine

This basket-like container made of leather, cloth, cowries, and mirrors would have been used to hold symbols of a person's spiritual essence or individuality. Cowrie shells, ancient currency of the area, indicate material well-being.


Large Horned Mask

Horned Mask

Culture: Toma
Origin: Liberia

Wood with Leather, Raffia, Natural Materials
60" h. x 24" x 6"
1979.1.23
Donor: Peter Capone
Location: LRC Mezzanine

The horns on this piece are indicative of the water buffalo. The mane is made of raffia, a material from the forest. It is used to dress spirits and is believed to have protective properties.


Standing Female Figure

Female Dogon Figure

Culture: Dogon
Origin: Mali

Wood
19" h. x 3.5" x 4"
1979.1.24
Donor: Peter Capone
Location: LRC Mezzanine

Dogon figures served as the temporary abodes of recently deceased relatives. Shrine altars were located in the house of the lineage head and figures were displayed on the roof during funerals of the wealthy and powerful.


Cap Mask

Cap Mask

Culture: Bamana
Origin: Mali

Encrusted Wood
14" h. x 7" x 4"
1979.1.25
Donor: Peter Capone
Location: LRC Mezzanine

This cap mask is in the form of a horned animal with open mouth and bared teeth may have been used by the Kore society. There, ceremonial masks representing different animals were used to comment on proper or improper behavior. Masquerades took place at initiations, at rain invoking ceremonies, and at harvest.


Post with Relief Carving

Post with Relief Carving

Culture: Dogon
Origin: Mali

Wood, Mud, Cowrie Shell
45" h. x 8" x 6"
1979.1.26
Donor: Peter Capone
Location: LRC Mezzanine

This carving is possibly a support post from a Dogon Togu na, a large, low open structure with a massive roof made of millet stalks, which were the physical and symbolic center of the community. The posts were carved and painted with masks, body parts, and mythological characters. This figure may represent a Nommo, one of the eight ancestral spirits who founded the Dogon lineages and introduced weaving, smithing, and agriculture to their human descendants.


Mask Headdress

Mask Headdress

Culture: Unknown
Iron with Leather, Cowries
9.5" h. x 9.5" x 13"
1979.1.27
Donor: Peter Capone
Location: LRC Mezzanine

This mask headdress of discoid form is a highly stylized representation of an elephant and may have been used as a cap mask or as ornamentation.


Door Panel with Reliefs

Nupe Door Panel

Culture: Nupe
Origin: Nigeria

Wood
72.5" h. x 14" x 1.5"
1979.1.28
Donor: Peter Capone
Location: LRC Mezzanine

This door panel with reliefs of humans, animals, tools, and patterns was carved by Sakiwa the Younger of Lapai, Nigeria. The Islamic woodcarving tradition, passed to the Nupes, is found in embellished doors created for the houses of the Fulani ruling class. The doors usually consist of three or four joined panels.


Standing Female Figure

Standing Female Figure

Culture: Unknown
Wood
20.5" h. x 5.5" x 5"
1979.1.29
Donor: Peter Capone
Location: LRC Mezzanine

This carved sculpture is a female figure of unknown origin. The scarification on the abdomen, the frontal pose, and attitude are similar to Yoruba, Dogon, and Mossi figures.