A Yoruba Ogboni drum by Aerogun of Osi Illorin, Nigeria

rising from a conical base, the oval drum with a band of figurative scenes in relief, covered with goat hide (capra hircus); exceptionally fine varied brown crusty sacrificial patina.

Sherwin Memel, Los Angeles

excellent condition overall; nicks and scratches, wear and tear from traditional use; exceptionally fine varied brown crusty sacrificial 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Sherwin Memel (b. Buffalo, 1930; d. Los Angeles, 2007) was a leading health care lawyer. In addition to his distinguished career as an attorney, Memel was an accomplished jazz drummer, an avid jazz fan and patron, a philanthropist, and collector of African art. He served on the Board of Directors and ultimately became Chairman of the Board of the non-profit venue The Jazz Bakery. He was Chairman of Pacific Public Radio (FM 88.1 KKJZ), and served also on the Board of Directors of Friends of Jazz at UCLA. Memel was fascinated by the subject of drums and managed to acquire some of the rarest and finest examples for his collection, such as the present lot.

An Ogboni drum by Aerogun

This Ogboni drum, agba Ogboni, is a rare carving by Areogun (d. 1954), the great Yoruba artist of Osi Illorin in Northern Ekiti. Fr. Kevin Caroll, who lived in Oye Ekiti for several decades (from the early 1940s to the mid-1960s), knew Areogun and celebrated his work and that of other Ekiti carvers, such as Areogun's son, George Bandele of Osi, and the equally gifted carver Bambogboye of Odo Owa, in his book Yoruba Religious Carving. Caroll (1966: 44, pl. 34) photographed many of Areogun's carvings, including four drums at Obo Aiyegunle near Osi. All are full standing figures balancing drums on their heads. He also photographed two Ogboni drums carved in 1942 by Bandele for the meeting house, iledi, at Iporo and another, carved in 1943, for the Ogboni Society in Usi-Ekiti (ibid.: 29, pl. 25; 90, pl. 71). However, Carroll did not photograph an agba Ogboni carved by Areogun, although we know from Carroll that Areogun was a member of the Ogboni secret society and that "he worked for them" (ibid.: 80).

 

The large, framed face or "eye" ojubo, on an Ogboni drum is the focus of sacrifice, the place where the blood of an animal sacrifice is smeared. Although quite worn from ritual use, it is clear that this drum was not carved by Bandele. The figures carved in bas-relief on the body of the drum are carved in a style that clearly reveals the hand of Areogun. All are favorite subjects of Areogun and are found on doors and large Ifa bowls that Carroll and others documented in the field.

 

The image of an equestrian figure holding aloft his gun appears on a door panel photographed by John Picton, which includes Osi (Picton 1994: 14, fig. 1.6). The same image is found on a door in the collection of the UCLA Museum of Cultural History (Fagg and Pemberton 1982: 137, pl. 42, left panel). The male and female figures facing one another with sexual gestures appear on a door photographed by Picton in 1964 in the town of Ola (Picton 1994: 27, fig. 1.14). The depictions of a kneeling woman with child on her back as she holds an offering bowl, as well as a standing female figure carrying a bowl on her head, are also frequently found on carvings by Areogun.

 

In addition to Areogun's repetition of subject matter, and many carvers in the Osi area used the same imagery (Carroll refers to the "Areogun school"), it is the style in which Areogun carved his figures and placed them in space which are the hallmark by which a sculpture may be identified as the work of Areogun. For example, the manner in which he carves the eyes, nose, and mouth, as well as the shape and positioning of ears and women's breasts. A comparison with documented works, such as those cited above, reveals the consistency with which he carved the human figure. Likewise, one of the decorative motifs with which he framed many of the panels on his doors appears also on this Ogboni drum. In addition there is Areogun's compact use of the entire space of panel without crowding the scene.

 

While it is clear from the carving's style and placement of the figures in space that this is the work of the master carver, Areogun, it is the subject matter, an agba Ogboni, which makes this drum so unusual, material evidence of the secret society.

John Pemberton III
Crosby Professor of Religion, Emeritus
Amherst College