- 51
Statue, Dogon, Région de Bombou-Toro, Mali
Estimate
70,000 - 100,000 EUR
bidding is closed
Description
- Dogon
- Statue
- Wood
- haut. 58,5 cm
- 23 in
Provenance
collects
ion Hélène et Philippe Leloup, Paris
collects ion Buchmann, Suisse (cf. lots 89, 106 et 107)
collects ion Buchmann, Suisse (cf. lots 89, 106 et 107)
Exhibited
Köln, Buchmann Galerie, Culture Myth Africa, Meisterwerke der Dogon, 1996
Stuttgart, Galerie der Stadt, Chefs-d'œuvre de la statuaire Dogon, 26 avril - 2 août 1998
Agra/Lugano, Buchmann Galerie, Culture Myth Africa, novembre 2009
Daté au C14, Test AZ 6066 : 175 +/- 45 ans (The University of Arizona, Tuscon. 12 avril 1990)
Stuttgart, Galerie der Stadt, Chefs-d'œuvre de la statuaire Dogon, 26 avril - 2 août 1998
Agra/Lugano, Buchmann Galerie, Culture Myth Africa, novembre 2009
Daté au C14, Test AZ 6066 : 175 +/- 45 ans (The University of Arizona, Tuscon. 12 avril 1990)
Literature
Leloup, Statuaire Dogon, 1994, n° 79
Buchmann, Culture Myth Africa, Meisterwerke der Dogon, 1996, n° 10
Schmidt, Chefs-d'œuvre de la statuaire Dogon, 1998, n° 23
Buchmann, Culture Myth Africa, 2009, p. 26-31
Buchmann, Culture Myth Africa, Meisterwerke der Dogon, 1996, n° 10
Schmidt, Chefs-d'œuvre de la statuaire Dogon, 1998, n° 23
Buchmann, Culture Myth Africa, 2009, p. 26-31
Condition
Please refer to the department, + 33 1 53 05 52 67, alexis.maggiar@sothebys.com
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any stat.mes nt made by Replica Shoes 's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any stat.mes nt made by Replica Shoes 's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Au centre de la Falaise Sud du plateau de Bandiagara naquit au XVIIe siècle, à partir d'influences Tellem et Djennenké, un style d'une individualité remarquable, identifié par Hélène Leloup comme "Bombou-Toro", dont les statues "paraissent refléter la vision quotidienne des à-pic de la falaise, le côté abrupt de l'environnement qui transmet au sculpteur ses caractéristiques rigoureuses" (Leloup, 1994, p. 166).
Assis sur le tabouret cheffal conçu à l'image du monde - deux disques (terre et ciel) dont les trois personnages cariatides figurent les ancêtres Nommo - le personnage est désigné par son carquois comme un chef de guerre. Exprimant le dualisme fondamental de la pensée Dogon, les seins prononcés associés au carquois symboliseraient l'idéal humain - qualité de fécondité pour la femme et de guerrier pour l'homme. "Il suinte encore de l'enduit (fait de plantes brulées) dont il a été arrosé au cours de nombreux sacrifices (...) dans le cadre du culte veillant à la continuité de la communauté" (Leloup in Buchmann, 2009, p. 28).
Selon Hélène Leloup (idem), cette statue de guerrier, datant du XVIIIe siècle, "provient d'un atelier de style archaïque par ses longues jambes, type rare dont il existe un autre exemplaire au musée de Detroit" (idem). Il constitue le témoin le plus abouti de cet étroit corpus, tant par l'audace de la conception que par la parfaite maîtrise sculpturale, associant dans une dynamique saisissante et superbement architecturée, le guerrier et le siège sacré. Enfin, tandis que la rigueur du visage inscrit dans un triangle et du long nez en flèche est caractéristique du style, l'empreinte de la patine profonde sur les lignes rendues incertaines, confère à l'œuvre une sensibilité singulière.
Dogon figure, Bombou-Toro region, Mali
In the 17th century, a remarkably individual style arose from Tellem and Djennenke influences in the centre of the southern cliff of the Bandiagara escarpment. Hélène Leloup has identified this style as the "Bombou-Toro" style. Figures in this style "seem to reflect the daily view of the cliff peaks; the harsh aspect of the environment seemingly infusing the sculptor's work with its rigorous qualities". (Leloup, 1994, p. 166).
The quiver carried by the principle figure allows us to identify him as a war-lord. He sits on a chief's stool which is designed in the image of the world, with two discs representing heaven and earth. The three caryatid figures represent Nommo ancestors. The principle figure's pronounced breasts and quiver express the fundamental dualism of Dogon thought, this ideal figure combining the fertile quality of women and the warrior spirit of men. The figure "still oozes with the coating (made of burnt plants) that was sprinkled over it during the many sacrifices (...) made as part of a cult designed to ensure the continuity of the community" (Leloup in Buchmann, 2009, p. 28).
According to Hélène Leloup (ibid), one may surmise that this figure of a warrior "comes from an archaic workshop on account of its long legs, which are of a rare type". Another specimen of this type is in the Detroit Institute of Arts (ibid). The offered lot is the most accomplished specimen of this small corpus. It is distinguished both by the boldness of its design and by the mastery of its sculpture, which combines the figure of the warrior and the sacred seat in a dynamic manner. Finally, whilst the strict lines of the triangular face, the long pointed nose are all characteristic of the style, the deep patina has gradually blurred their outlines, giving this figure a distinctive sensibility of its own.
Assis sur le tabouret cheffal conçu à l'image du monde - deux disques (terre et ciel) dont les trois personnages cariatides figurent les ancêtres Nommo - le personnage est désigné par son carquois comme un chef de guerre. Exprimant le dualisme fondamental de la pensée Dogon, les seins prononcés associés au carquois symboliseraient l'idéal humain - qualité de fécondité pour la femme et de guerrier pour l'homme. "Il suinte encore de l'enduit (fait de plantes brulées) dont il a été arrosé au cours de nombreux sacrifices (...) dans le cadre du culte veillant à la continuité de la communauté" (Leloup in Buchmann, 2009, p. 28).
Selon Hélène Leloup (idem), cette statue de guerrier, datant du XVIIIe siècle, "provient d'un atelier de style archaïque par ses longues jambes, type rare dont il existe un autre exemplaire au musée de Detroit" (idem). Il constitue le témoin le plus abouti de cet étroit corpus, tant par l'audace de la conception que par la parfaite maîtrise sculpturale, associant dans une dynamique saisissante et superbement architecturée, le guerrier et le siège sacré. Enfin, tandis que la rigueur du visage inscrit dans un triangle et du long nez en flèche est caractéristique du style, l'empreinte de la patine profonde sur les lignes rendues incertaines, confère à l'œuvre une sensibilité singulière.
Dogon figure, Bombou-Toro region, Mali
In the 17th century, a remarkably individual style arose from Tellem and Djennenke influences in the centre of the southern cliff of the Bandiagara escarpment. Hélène Leloup has identified this style as the "Bombou-Toro" style. Figures in this style "seem to reflect the daily view of the cliff peaks; the harsh aspect of the environment seemingly infusing the sculptor's work with its rigorous qualities". (Leloup, 1994, p. 166).
The quiver carried by the principle figure allows us to identify him as a war-lord. He sits on a chief's stool which is designed in the image of the world, with two discs representing heaven and earth. The three caryatid figures represent Nommo ancestors. The principle figure's pronounced breasts and quiver express the fundamental dualism of Dogon thought, this ideal figure combining the fertile quality of women and the warrior spirit of men. The figure "still oozes with the coating (made of burnt plants) that was sprinkled over it during the many sacrifices (...) made as part of a cult designed to ensure the continuity of the community" (Leloup in Buchmann, 2009, p. 28).
According to Hélène Leloup (ibid), one may surmise that this figure of a warrior "comes from an archaic workshop on account of its long legs, which are of a rare type". Another specimen of this type is in the Detroit Institute of Arts (ibid). The offered lot is the most accomplished specimen of this small corpus. It is distinguished both by the boldness of its design and by the mastery of its sculpture, which combines the figure of the warrior and the sacred seat in a dynamic manner. Finally, whilst the strict lines of the triangular face, the long pointed nose are all characteristic of the style, the deep patina has gradually blurred their outlines, giving this figure a distinctive sensibility of its own.