In October of 1902, Albert Mocquerys sold a set of natural history specimens and a set of twenty-seven “curiosities,” including twenty-two African weapons from the “Zambezi River,” to the National Museum.
Nineteen of these weapons had handles embellished with metal threads (brass or copper): a bow, five one-pointed short spears, four two-pointed short spears, four small two-pointed short spears and five axes. The threads were about one millimeter thick, rounding the handles with a very exquisite embroidery that formed intricate decorative braids. Some of the handles were completely covered by the threads, while others were only partially adorned.
Hand-thrown weapon.
Lower Zambezi River Basin.
19th century.
Hand-thrown weapon.
Lower Zambezi River Basin.
19th century.
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As part of the negotiation, Batista de Lacerda, then, the Director of the National Museum, added a note to Mocquerys’ sales receipt, dated October 27, 1902: “The zoological and ethnographic objects from the collection purchased from the traveler Mocquerys, Jr. should be deposited in the respective sections under the care of the assistant and preparer until the purchase is regularized, when they can be incorporated into the Museum’s collections.” This incorporation finally happened in 1909.
Albert Mocquerys (1860-1926) was born in France but spent part of his life in Tunisia, where his brother and father worked as dentists and entomologists. His family background instilled a knowledge of natural history in him that led him on expeditions all over the world. He visited Sierra Leone, Gabon, the São Tomé Islands, Congo, Angola, Madagascar, Laos, Brazil, and Venezuela, among others. Mocquerys collected natural history specimens to sell to museums and private collectors, some of whom sponsored his expeditions. He was a member of the Société de Géographie Commerciale of Paris and other important scientific associations.
According to Dorr, Stauffer and Rodríguez (2017), his sponsors included Alexandre Godefroy-Lebeuf (1852-1903), Emmanuel Drake del Castillo (1855-1904) and Lionel Walter Rothschild (1868-1937). The Baron of Rothschild may have been his most important sponsor. Mocquerys was one of the collectors for his Natural History Museum at Tring, England.
Those embellished weapons caught the attention of nineteenth-century colletctors, explorers, ethnologists, and archaeologists. Alice Balfour narrated her visit to Umtali (present-day Mutare, Zimbabwe) in Twelve Hundred Miles in a Waggon (1895). She described spears and knives with handles that were beautifully adorned with brass or copper threads.
In Adventures in Mashonaland by Two Hospital Nurses (1893), Rose Blennerhassett and Lucy Sleeman reported their appointment with “the queen” Maquaniqua, whose messenger handled an adorned ax. Hendrik
Müller (German) and Jon Snelleman (Dutch), the authors of Industrie des Cafres du sud-est de l’Afrique, collection recueillie sur les lieux et notice ethnographique (1893) also described such weapons.
At that time, coeval evolutionist concepts that believed humanity would move from primitive stages to civilization informed all descriptions of peoples and their cultural heritage. The material heritage of each society served as an indicator of its place in the hierarchy. Regular interaction between Africans and Europeans risked erasing cultural clues that permitted knowledge of the steps of this “evolution”, further reason to preserve information that could help demonstrate this theory of social evolution. In this context, museums were seen as places to guard such indicia. While many authors described the techniques of African metallurgy, none devoted attention to the cultural dimension of those practices. Research on this topic is recent.
The range of metals found in sub-Saharan Africa include at least four elements: iron, gold, tin, copper and its alloys, including brass. In contrast to iron, copper is more malleable and can be cold worked. According to several authors, copper wire work dates from the beginning of the Iron Age in southern Africa (Fangan et al. 1969; Miller, 2002; Walker, 2015).
Blacksmiths used a narrow iron plate with several holes of different diameters. The wire was passed through the widest hole with the help of tweezers. The movement was repeated, passing the thread through other smaller holes until attaining the desired diameter. Paul Guyot described this technique in Voyage au Zambèse (1895): only the blacksmiths known as “weapon decorators” were familiar with this technique.
Most of the National Museum’s records contain little information about the origin or place of manufacture of the works purchased from Mocquerys, describing them only as “Zambezi River Basin” weapons.
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We searched for additional information in different museum collections that gathered similar works. The Brooklyn Museum and the American Natural History Museum (both in New York), the Pitt Rivers Museum (Oxford), the Smithsonian Museum (Washington, DC) and the Musée du Quai Branly (Paris) all have weapons and other objects adorned with these threads.
Studying the trajectories of objects offers a means for understanding the establishment of social relations. The information we gathered from this collection allowed us to learn not only about Mocquerys and the weapons, but also about the National Museum’s procedures for purchasing objects at the time. Mocquerys’ biography and findings open new avenues for understanding the complex network of collectors and museums.
Bibliography
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ALBERTI, Samuel J. M. Objects and the Museum. Isis: Journal of the History of Science, v. 96, n. 4, Dec. 2005. p. 559-571.
CHILDS, S. Terry; KILLICK, David. “Indigenous African metallurgy:
Nature and culture”. Annual Rev. of Anthropology. v. 22, 1993. p. 317-337.
CHIRIKURE, Shadreck. Metal in Past Societies: a global perspective on indigenous African metallurgy. New York: Springer. 2015.
DORR, Laurence J.; STAUFFER, Fred W.; RODRÍGUEZ, Leyda.
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22, n. 1, jun 2017. p. 17-26.
GONÇALVES, José Reginaldo Santos. Antropologia dos Objetos: coleções, museus e patrimônios. Rio de Janeiro: IPHAN, 2007.
LIMA, Rachel Corrêa. Coleção Mocquerys de armas africanas do Museu Nacional: a biografia como estratégia de preservação. Master’s Thesis. Rio de Janeiro: Museu de Astronomia e Ciências Afins. 2019.
MILLER, Duncan E. “Smelter and Smith: Iron Age Metal Fabrication Technology in Southern Africa.” Journal of Archaeological Science v. 29, n.
10, 2002.
MUSEU NACIONAL/SEMEAR. “Reeibo de venda” (October 27, 1902).
Fundo diretoria – avisos e ofícios, 1895-1915. Pasta 43, doc 9.
Bow. Lower Zambezi River Basin. 19th century.
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The Celenia Pires Ferreira Collection is comprised of forty-four objects that Professor Celenia Pires donated to the National Museum in 1936.
The majority of the collection derives from her missionary work in Angola between 1928 and 1934. Just two of the objects are from Nigeria and one is of unknown provenience. Celenia Pires was born in the state of Pernambuco and worked as a teacher in the nearby city of Campina Grande, in the hinterland of the northeastern Brazilian state of Paraíba.
She was a member of the Congregational Church and in 1929 joined a mission to Angola’s central plateau in order to teach Portuguese and Christianity to the Ovimbundu peoples. During her five-year stay in Angola (1929 – 1934), she acquired a number of objects she brought back to Brazil.
At that time, Angola was a Portuguese colony. In addition to extracting the territory’s wealth and exploiting its “indigenous” labor, Portugal endeavored to repress the cultural practices of the different ethnic groups who lived there by teaching them Christianity, the Portuguese language,
Wooden female figure.
According to Celenia Pires, the doll called an otchiteka.
Ovimbundu, Angola. 20th century.
Celenia Pires Ferreira Collection.
Michele de Barcelos Agostinho