Magnifique statue féminine, Sénufo, Mali

Christine Valluet - Yann Ferrandin, Paris
Collection Lionel Sergent

Wear consistent with age and use within the culture : crack and losse to the proper left side of the back; crack between the proper left hand and the torso; old small and well patinated loss to the proper right ear; legs are missing. Exceptional encrusted dark brown patina.
"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 statement made by Sotheby'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."

Le rythme des formes ordonne à la perfection la dynamique des lignes jouant sur la tension des courbes et des brèves ruptures de plans, et sur la souplesse des bras déployés dans l'espace. A cette esthétique épurée répond la prégnance du visage aux traits serrés, s'esquissant dans la subtilité de la face tout juste épannelée. L'intelligence des formes et la finesse des traits confèrent à l'œuvre une force saisissante, accentuée par la patine croûteuse.

Le port de la tête, la rondeur des oreilles, l'étirement du corps structuré à l'arrière par la superbe résolution en creux de la colonne dorsale, enfin la rondeur des épaules l'apparentent aux célèbres statues "déblé" attribuées depuis la collecte par Lem en 1935 du chef-d'œuvre de la collection Helena Rubinstein, aux Maîtres de Sikasso (cf. Goldwater, 1964, n° 85-90). Par ailleurs, la tension des courbes et la forme conique des seins généreux témoignent de l'influence de la statuaire Bamana, et en particulier des statuettes Jonyeleni, dont sa dimension la rapproche également. Ces caractéristiques formelles et stylistiques permettent de situer sa provenance dans la zone de contacts des Sénufo septentrionaux avec les Bamana du sud du Mali, entre la région du Folona et celle de Sikasso.

En 2002, la galerie Valluet-Ferrandin présentait, dans son exposition Arts anciens de la Côte d'Ivoire et régions limitrophes (2002 : 90 et 91) une statue correspondant de toute évidence à son pendant masculin. Rares sont les couples parvenus en Occident dont les concordances plastiques permettent, comme ici, d'en associer les figures. Le couple constitue la dynamique essentielle de la pensée des Sénufo (Glaze, 1981 : 72), et son image l'une des formes emblématiques de leurs principales institutions sociales : l'association féminine du Sandogo et masculine du Poro. Cette statue féminine, tout comme son pendant masculin, présentent une patine sacrificielle, avec restes de plumes (ici sous le menton), excluant leur usage dans le cadre du Poro, en tant que poro pya. Selon Till Förster (communication personnelle, septembre 2010), elle peut être attribuée, comme son pendant masculin, à un tugu, représentation sous la forme d'un bel humain d'un "génie de brousse" ou autre être "sauvage".

Magnificent Senufo female figure, Mali

The rhythm corresponds to the perfect dynamic of the pure forms, opposing the stridency of the tight curves and the short breaks in the plane, to convey the slenderness of the arms carved out into space. This aesthetic of form, expresses the force of the tightly carved features, outlined in the subtlety of the face. The intelligence of the shapes, and the fineness of the features, gives this work a dramatic strength which is accentuated by the encrusted patina.

The carriage of the head, the roundness of the ears, the stretching of the body structured at the base by a superb resolution in the hollow of the spine, and finally the curve of the shoulders, likens this piece to the celebrated "déblé" statue attributed, since its collection in 1935 by Lem and from the collection of Helena Rubinstein, as the work of the Master of Sikasso (cf. Goldwater, 1964, n° 85-90). Furthermore, the tension of the curves and the tapered shape of the generous breasts show the influence of Bamana statuary, in particular the Jonyeleni statuettes, which are also of a similar dimension. Its attribution can thus be situated in the area of contact between the northern Senufo and the Southern Bamana of Mali, between the region of the Folona and the Sikasso.

In 2002, the Valluet-Ferrandin gallery presented, in their exhibition Arts anciens de la Côte d'Ivoire et régions limitrophes (2002 : 90 and 91),  a corresponding statue which appears to be the male counterpart of this work. Few couples have arrived in the West, whose corresponding sculptural qualities allow, as here, for a matching of the figures. The couples constitute the essential dynamic of Senufo thought (Glaze, 1981 : 72), and their image is one of the emblematic forms of the principal Senufo social institutions : the feminine Sandogo, and the masculine Poro. This female statue, like its male counterpart, has a sacrificial patina, with remnants of feathers (here under the chin), expressing their usage within the setting of the Poro, as well as that of the poro pya. According to Till Förster (personal communications), it can thus be attributed, along with its male counterpart, as a tugu, a representation in the form of a beautiful human of a 'spirit of the bush' or another 'wild' being.