Photographs © Tim Hamill
Bamun 2, 5"wide, $200, SOLD
This massive ornate copper-alloy (bronze or brass) bracelet is a form
of currency found among the Bamum (Bamun) people of Cameroon. Though often
identified as a currency type it also served as a prestige object available
in most instances to elites within Bamum society. Featuring a complex series
of patterns this hollow cast bracelet is decorated with concentric circles
at both edges separated by a series of dots, lines. zig-zag patterns and
a center section arranged as a complex interlace design. This massive,
heavy and hollow cast bracelet is an extraordinary example of the skill
of the Bamun bronze caster in casting a large metal form with complex design
on the outer surface and a smooth interior surface with an open space between
both surfaces. This bracelet reflects the tradition of casting in copper-alloys
that was encouraged if not developed by Fon Ibrahim Njoya (Fon translates
to ruler or king) who lived from 1873 to 1933. It was during the last years
of the nineteenth century and the early years of the twentieth century that
Fon Njoya in his capital at Foumbam encouraged craft workers including metal
workers, carvers, weavers and potters. It was a center for the development
of the arts and crafts and the predominance of the casting of copper-alloy
objects that include pipes, figures and especially large bracelets. Having
learned the craft of lost-wax casting from their neighbors the Tikar (Gebauer
1979:121), the casters and metal workers of Foumbam were successful to the
degree that they eclipsed most of the surrounding groups and kingdoms dominating
the casting of copper-alloy objects. As Gebauer notes: They mastered the
craft, perfected the designing of the wax models, and eliminated the competition
in the field. The Bamum casts became and still are excellent examples of
lost-wax castingî (1968: unpaginated).
--- from Gebauer, P. and Clara Gebauer, A Guide to the Cameroon Art From
the Collection of Paul and Clara Gebauer. 1968, Gebauer P., Art
of Cameroon,1979.
Our thanks to Dr. Daniel Mato, Professor Emeritus of Art History, The University of Calgary, for providing us with the above citation.
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