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Descrizione : Male: mask is in two pieces, rendering him very fragile. Hat is missing several tassels, with some in fair condition. Severe age crack on proper left side starting at top of hat, extending down through face to bottom of beard. Long cracks in torso starting on proper right extending to proper left down through leg onto horse. Chipping with missing wood on proper left arm and shoulder. Base where horse rests has severe polychrome and patina flaking and chipping, as well as a crack on the proper left front side. Base face has extensive age crack on proper left side extending from top of head, to eye and down through the cheek. Purposeful holes along base with visible age and wear. Provenance: From the personal Collection of Elizabeth Bennett-Sara F. Luther. Exhibited at the South Dakota Art Museum Published in: Daniel Mato, PhD., Chelsea Cooksey, YORUBA: AN ART OF LIFE. The Bennett-Luther Collection Africa Direct, Denver, Colorado, 2004, fig. 35, p. 48 Also reproduced on , the Cover of this book.  ,Additional Information: An extraordinary pair of helmet masks! Pair of Epa masks with traditional Yoruba iconography as interpreted by a skilled but unknown master carver. The seated female is brightly polychromed. Bold strokes of white paint on her distinctive hairstyle, and carefully painted facial markings indicate lineage and social status , and evoke a striking visual authority. She is shown as the mother of Twins (iya ibeji), with a child on her lap and another on her back who is alertly holding her by the shoulders while looking to the side. A single male figure and several female figures adorn the base in a kneeling position of reverence for the Orishas (spirits). The male figure portrays the mounted warrior figure called jagunJagun. He is shown wearing a European style. hat, fringed with free swinging sticks that serve to conceal and protect his face. He is seated , on a horse in a gesture of power and authority, with a sword , in his right hand. In earlier sculptures the European fringed hat would have been replaced with a traditional head covering. This more modern substitution demonstrates the Yoruba ability to blend images of authority with trends and movements in modernity. The masks are carved from single blocks of aberinberin in wood and are customarily and ritualistically painted by the family which owns them (Daniel Mato, PhD., Chelsea Cooksey, YORUBA: AN ART OF LIFE. , p. 48)  ,Recommended Reading: Drewal , H. J. and J. Pemberton III, with R. Abiodun Yoruba: Nine Centuries of African Art and Thought, (New York, 1989) Drewal, H. J. and M. Thompson Drewal., Gelede, Art and Female Power among the Yoruba. 1983.  ,Fagg, W. and J. Pemberton III: Yoruba Sculpture of West Africa, (New York, 1982) Lawal, B.: The Gelede Spectacle. Art, Gender, and Social Harmony in an African Culture. (Seattle, London 1996) Mato, Daniel, Chelsea Cooksey, Yoruba: Art of Life. The Bennett-Luther Collection, Denver 2004 , Witte, H.: A Closer Look, Local Styles in the Yoruba Art Collection of the Afrika Museum, Berg en Dal. 2004. I have examined this piece and agree with the description. Niangi Batulukisi, PhD.
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