\"Acquisitions of the Princeton University Art Museum 2016,\" Record of the Art Museum, Princeton University 75/76 (2016-17): 126-157.
","citation":"\"Acquisitions of the Princeton University Art Museum 2016,\" Record of the Art Museum, Princeton University 75/76 (2016-17): 126-157.
, p. 128 (illus.)","date":2016,"id":9662,"uri":"https://www.jstor.org/stable/i40228781"},{"boilertext":"Tamara Northern, The art of Cameroon (Washington, D.C.: Smithsonian Institution Traveling Exhibition Service, 1984)","citation":"Tamara Northern, The art of Cameroon (Washington, D.C.: Smithsonian Institution Traveling Exhibition Service, 1984), p. 58; p. 131; pl. 63","date":1984,"id":7450,"uri":"https://search.worldcat.org/title/473719054"},{"boilertext":"Beaded splendor (Washington, D.C.: National Museum of African Art, 1994)","citation":"Beaded splendor (Washington, D.C.: National Museum of African Art, 1994), fig. 13","date":1994,"id":7453,"uri":"https://search.worldcat.org/title/78407578"},{"boilertext":"Alisa LaGamma, Echoing Images: couples in African sculpture (New York, New Haven, CT, & London: Metropolitan Museum of Art & Yale University Press, 2004)","citation":"Alisa LaGamma, Echoing Images: couples in African sculpture (New York, New Haven, CT, & London: Metropolitan Museum of Art & Yale University Press, 2004), p. 36; pl. 24","date":2004,"id":7454,"uri":"https://search.worldcat.org/title/491896496"},{"boilertext":"Christraud Geary, Bamum (Milan: 5 Continents Editions, 2011)","citation":"Christraud Geary, Bamum (Milan: 5 Continents Editions, 2011), p. 108; pl. 22","date":0,"id":7456,"uri":"https://search.worldcat.org/title/955742703"}],"nowebuse":"False","periods":[],"department":"African and Oceanic Art","attribute_groups":[{"id":2199315,"term":"African Art","termtype":"Collecting Area"}],"daterange":"A.D. 1900-1945","dateend":1933,"depicted":[],"titles":[{"title":"Sa (flywhisk)","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":null,"objectnumber":"2016-102","inscribed":null,"texts":[{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Bryce Holcombe (d. 1983), New York, NY; purchased by Mark Rabun, New York, NY by 1983; [purchased by Pace Primitive, New York, NY by 1989]; purchased by Holly and David Ross, Princeton, NJ, 1989; donated to the Princeton University Art Museum, Princeton, NJ, 2016.","remarks":"Updated by Perrin Lathrop, 10/25/2023. Removed King Ibrahim Mbouombouo Njoya (1860–1933) as first owner due to views of experts Christraud Geary and Jonathan Fine that this object was probably made for the market. See curatorial notes in this record. "},{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"\n\tBefore World War I, Sultan Ibrahim Njoya, who ruled Bamum Kingdom in present-day Cameroon, commissioned royal bead workers to create flywhisks for use during the annual Nja festival. The two male figures on the handle represent the king’s retainers and are adorned with the armlets, belts, and crescent-shaped hats associated with their position. This doubling of figures may reflect the significance of twins, who were sent to the palace by their parents to serve the king. Though finely crafted and richly covered in imported glass seed beads, this flywhisk features dark horsehair rather than the white customarily reserved for royal use. After assuming colonial control of Cameroon from Germany, the French terminated the celebration of festivals like Nja to suppress Sultan Njoya’s power. However, artists working in the capital, Foumban, continued to produce beaded objects, possibly including this flywhisk, for local and European clients into the mid-twentieth century.\n
\n\n\tComparative image: Sultan Ibrahim Njoya of Bamum (r. ca. 1885–1933) in Foumban, Cameroon, ca. 1910. Holly W. Ross Postcard Collection\n
","remarks":"AFR-CI_31-T2-1_WLA.pdf - Day 1 installation"}],"datebegin":1900,"sortnumber":"2016 102","published_date":"2026-02-11 12:31:32.067016","objectid":61100,"dimensions":"36.8 × 17.8 × 49.5 cm (14 1/2 × 7 × 19 1/2 in.)","on_view":true}