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Lot Essay
Fixé sur un petit panier en osier, élément rarement conservé, ce cimier ci wara, porté lors de cérémonies festives ou agricoles, interpelle par son élégance. Il est orné d’une myriade de formes géométriques soigneusement gravées dans le bois par l’artiste bamana ; des motifs à chevrons présents sur le visage répondent aux lignes droites aux incisions crantées réalisées le long du corps apportant ainsi relief et profondeur à l’ensemble. De cette sculpture combinant les formes d’antilope, pangolin et fourmilier, émane une parfaite harmonie. L’animal est paré de coquillages, d’anneaux et de petites perles soulignant ainsi toute la finesse des reliefs et des motifs. Les cornes élancées et annelées s’achèvent par des fibres végétales qui retombent délicatement vers le dos crénelé de l’animal.
Ce panier en osier abrite le numéro d’inventaire du Museum für Völkerkunde d’Hambourg a acquis cet objet en 1911 auprès de Leo Frobenius. Connu pour ses multiples expéditions ethnographiques en Afrique, il fut l’un des chercheurs les plus influents et éminents de son époque, et l’un des plus grands contributeurs auprès de musées et collectionneurs privés.
Cette typologie rappelle un exemplaire analogue ayant appartenu à Helena Rubinstein et publié dans l’ouvrage Petridis C. et al.,The Language of Beauty in African Art, Chicago, 2022, p. 135, n° 71.
Fixed to a small wicker basket, a rarely preserved element, this ci wara headdress, worn during festive or agricultural ceremonies, captivates with its elegance. It is adorned with a myriad of geometric shapes carefully engraved into the wood by the Bamana artist; chevron patterns present on the face correspond to the straight lines and notched incisions made along the body, adding relief and depth to the overall piece. This sculpture, combining the forms of an antelope, pangolin, and anteater, emanates perfect harmony. The animal is embellished with shells, rings, and small beads, highlighting the finesse of the reliefs and patterns. The elongated, ribbed horns are completed with plant fibers that delicately cascade down the animal's scalloped back.
This wicker basket houses the inventory number of the Museum für Völkerkunde in Hamburg, which acquired this object in 1911 from Leo Frobenius. Known for his numerous ethnographic expeditions in Africa, he was one of the most influential and prominent researchers of his time, as well as one of the greatest contributors to museums and private collectors.
This typology recalls an analogous example that belonged to Helena Rubinstein and published in Petridis C. et al., The Language of Beauty in African Art, Chicago, 2022, p. 135, no. 71.
Ce panier en osier abrite le numéro d’inventaire du Museum für Völkerkunde d’Hambourg a acquis cet objet en 1911 auprès de Leo Frobenius. Connu pour ses multiples expéditions ethnographiques en Afrique, il fut l’un des chercheurs les plus influents et éminents de son époque, et l’un des plus grands contributeurs auprès de musées et collectionneurs privés.
Cette typologie rappelle un exemplaire analogue ayant appartenu à Helena Rubinstein et publié dans l’ouvrage Petridis C. et al.,The Language of Beauty in African Art, Chicago, 2022, p. 135, n° 71.
Fixed to a small wicker basket, a rarely preserved element, this ci wara headdress, worn during festive or agricultural ceremonies, captivates with its elegance. It is adorned with a myriad of geometric shapes carefully engraved into the wood by the Bamana artist; chevron patterns present on the face correspond to the straight lines and notched incisions made along the body, adding relief and depth to the overall piece. This sculpture, combining the forms of an antelope, pangolin, and anteater, emanates perfect harmony. The animal is embellished with shells, rings, and small beads, highlighting the finesse of the reliefs and patterns. The elongated, ribbed horns are completed with plant fibers that delicately cascade down the animal's scalloped back.
This wicker basket houses the inventory number of the Museum für Völkerkunde in Hamburg, which acquired this object in 1911 from Leo Frobenius. Known for his numerous ethnographic expeditions in Africa, he was one of the most influential and prominent researchers of his time, as well as one of the greatest contributors to museums and private collectors.
This typology recalls an analogous example that belonged to Helena Rubinstein and published in Petridis C. et al., The Language of Beauty in African Art, Chicago, 2022, p. 135, no. 71.