African Art
PrevNext1 of 2
Photo credit: Yale University Art Gallery
PrevNext2 of 2
Photo credit: Yale University Art Gallery

Headdress Representing a Female Spirit (Tiyambo)

mid-20th century

Wood, yarn, fiber, nails, and pigment

20 1/2 x 6 7/8 x 7 7/8 in. (52 x 17.5 x 20 cm)
Charles B. Benenson, B.A. 1933, Collection
2006.51.373
The wide-eyed facial expression and the cicatrization marks of two strokes on each cheek mark this sculpture as characteristically Baga. The bust is worn on top of the head in dance, representing a character known as Yombofissa. Curiously, this figure has been overpainted black, probably by a dealer, to make it look more “African.” Its original red paint, seen underneath the black, is a Baga artistic convention that identifies this Baga woman as a Europeanized person of the twentieth century. This form of sculptural headdress originated only around 1935, and it is always painted with commercial oil paints.
Culture: 
Baga
Period: 
20th century
Classification: 
Masks
Geography: 
Made in Guinea
Status: 
Not on view
Provenance: 

Cornelis Pieter Meulendijk, Rotterdam: unknown dates
possibly Jeremiah Cole, Los Angeles and Atlanta, unknown dates
Charles B. Benenson Collection, donated to Yale University Art Gallery in 2004

Bibliography: 

Afrikaanse sculpturen uit de collectie van C. P. Meulendijk, exh. cat. (Rotterdam, Netherlands: Museum voor Land- en Volkenkunde, 1967-1968), 38, 61, no. 1/01, ill.

Renee Wassing, African Art: Its Background and Traditions (New York: Harry N. Abrams, Inc., 1968), 242, no. 34, ill.

Christie’s London, London, Christie’s: The Meulendijk Collection of Tribal Art, Part 1, sale cat. (October 21, 1980), 10, lot 3, ill.

Susan Vogel, Africa Explores: 20th Century African Art, exh. cat. (New York: The Center for African Art, 1991), 82–83, no. 15, fig. 15.

Frederick John Lamp, Art of the Baga: A Drama of Cultural Reinvention, exh. cat. (New York: Museum for African Art, 1996), 214, no. 204.

Frederick John Lamp, “Charles Benenson and His Legacy of African Art to Yale,” Yale University Art Gallery Bulletin (2004): 39, ill.

“Acquisitions, July 1, 2005–June 30, 2006,” Yale University Art Gallery Bulletin (2006): 222.

Frederick John Lamp, Accumulating Histories: African Art from the Charles B. Benenson Collection at the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2012), 238, ill.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.