Barbara Johnson took that photograph back to Liberia in 1983, and was able to talk with Ldamie's son, Yanemie Ldamie in Garplay (Gaple), who confirmed the identity of the person in the picture as his father. This identify was further confirmed by Gbangor, "an oral historian in the neighboring town of Beple" (Behplay?); and later, in 1986, by Chief Blazua, son of Chief Toway in Toway Town, for whom Ldamie had cast many brass figures. Johnson, Barbara. Four Dan Sculptors. San Francisco: The Fine Arts Museums of San Francisco. 1986. p. 53.

In the catalogue to the book, Johnson identified seven figures as probably Ldamie. Not included in the catalogue were other figures now in the collections of the American Museum of Natural History, New York City; the Baltimore Museum of Art; and the Peabody Museum (Cambridge). Other examples can be seen in the Yale - Guy van Rijn Archives. Some, but not all, of these figures were studied by Johnson, however. With such a body of work to examine, including at least 16 figures with collection data to work from, Johnson set out the characteristics of Ldamie's work.

Features of Ldamie's Work

"Significant characteristics of Ldamie's figures, with some variations, include the shape and proportions of the features of the face--the eyes, nose, mouth and ears, the shape of the body, particularly the legs and back. Legs are portrayed with muscular calves; backs usually have a vertical depression to indicate the spinal concavity. Hands and feet are usually flat and rigid with fingers and toes indicated by incised lines, and include the details of finger- and toenails. Sprues generally have been cut off from the bottoms of the feet. All the figures appear to have been hammered after casting, producing an attractive faceted surface that catches the light.

"Ldamies' attention to detail was remarkable for such features as hairstyles, the woven pattern of a winnowing basket, details of jewelry, or decorations on a stool; all detail was added with strands of wax that had been braided, twisted, or spiraled. The height of each figure varies from about 8 to 10 inches, although one group figure of trumpet players in the Peabody Museum that measures only about 6 inches in height. . . .

"Often repeating the same themes, Ldamie depicted people in action or carrying objects of importance. A number of objects exist of standing women with outstretched hands, sometimes holding ceremonial knives, staffs, or other ritual objects.

These women are elaborately coiffed and display bracelets, necklaces, waistbands, and/or knee rings, although they are otherwise unclothed. Women are also shown performing such daily chores as carrying water, pounding or winnowing rice, or tending babies. Men are often shown as blacksmiths or musicians. One figure is of carrier with a load on his head. Another is of a prisoner, his hands tied behind his back. Islamic influences are also seen. For example, one figure depicts a chief carrying a walking stick and wearing an Islamic amulet hat. Showing western influences, another figure portrays a man carrying a musket who wears a European-style top hat; another is of a man wearing an Islamic amulet hat, seated in a folding chair, and about to strike the match in his had to light the pipe in his mouth." Ibid. p. 54.

Based on these features, an examination of the photographs of Ldamie's work, and Becker-Donner's observation that "It is believed that formerly there were more men who could cast the remarkable little figures and animals in bronze, but now only two such men are left in the whole of Eastern Liberia," I have come to a preliminary conclusion that all of the figures in the Walter Logan Fry collection are Ldamie. A more thorough examination of this conclusion will be provided in the comparative galleries; where the differentiating features introduced by Barbara Johnson will be augmented and supplemented. And comments from visitors are always welcome.

Conclusion

One of the salient features of early 20th century African art has been the anonymity of the makers. It both mythologizes the makers, and diminishes them. Such anonymous makers do not share "the evolved abilities and sensibilities of Western Man." At best, they are seen as representative of the "Noble Savage." Ldamie is a documented exception.

Having an individual, recognizable artist allows one to focus on not only the tradition from which the maker arose, but how the maker bent the tradition, and adopted new forms and elements. It tells us how the maker responded to changes around him, in a place of migration and trade for countless centuries. More broadly, It tells us how creative humans everywhere interact with and change the physical and spiritual world in which they live.

Our work with Ldamie has only started.

- W. Logan Fry
wloganfry[at]aol[dot]com