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Lot Essay
This Bamana headdress, formerly kept by the renowned merchant and collector Gaston de Havenon (1904-1993), stands as a magnificent exemplar of the horizontal style.
Known as n’gonzon koun, these antelope-shaped crests are 'carved in two distinct parts - the head and the body - which are subsequently joined by iron clasps, U-shaped nails, as well as metal or leather elements'. Ci Wara, a religious association of initiated Bamana men, derives its name from this mythical creature, half antelope and half human, to whom the invention of agriculture and its transmission to humanity are attributed. The ritual dances of Ci Wara accompany and encourage farmers during their toil in the fields, while praising their efforts upon their return to the village once their work is complete. Bound to agrarian rites, the crests from this region are also distinguished by the horizontal arrangement of their composition, here superbly rendered by the elongated elliptical horns. In perfect harmony with the parallel axis of the body, these horns extend gracefully backward in gentle curves, enhancing the delicate treatment of the face. Moreover, the artist devoted meticulous attention to surface details: the fine spiral incisions along the length of the horns, the geometric patterns adorning the antelope’s head and body, and the addition of metal elements representing the eyes.
Taken as a whole, this work exemplifies an elegance imbued with modernity through the cubist articulation of its forms. For a comparable example, see the piece housed in the Rietberg Museum, Zurich (inv. no. RAF 204) published by Leuzinger (E. Leuzinger, Afrikanische Skulpturen - African Sculptures, Zurich, 1963, p. 41).
Known as n’gonzon koun, these antelope-shaped crests are 'carved in two distinct parts - the head and the body - which are subsequently joined by iron clasps, U-shaped nails, as well as metal or leather elements'. Ci Wara, a religious association of initiated Bamana men, derives its name from this mythical creature, half antelope and half human, to whom the invention of agriculture and its transmission to humanity are attributed. The ritual dances of Ci Wara accompany and encourage farmers during their toil in the fields, while praising their efforts upon their return to the village once their work is complete. Bound to agrarian rites, the crests from this region are also distinguished by the horizontal arrangement of their composition, here superbly rendered by the elongated elliptical horns. In perfect harmony with the parallel axis of the body, these horns extend gracefully backward in gentle curves, enhancing the delicate treatment of the face. Moreover, the artist devoted meticulous attention to surface details: the fine spiral incisions along the length of the horns, the geometric patterns adorning the antelope’s head and body, and the addition of metal elements representing the eyes.
Taken as a whole, this work exemplifies an elegance imbued with modernity through the cubist articulation of its forms. For a comparable example, see the piece housed in the Rietberg Museum, Zurich (inv. no. RAF 204) published by Leuzinger (E. Leuzinger, Afrikanische Skulpturen - African Sculptures, Zurich, 1963, p. 41).