- 86
Superbe statue féminine, Dogon Wakara, Mali
Description
- Superbe statue féminine, Dogon Wakara
- haut. 71 cm
- 28 in
Provenance
Lance Entwistle, Paris
Literature
Leloup, Statuaire Dogon, 1994 : n° 100
Condition
"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."
Catalogue Note
Le style Wakara s'est développé dans la région de Douenza, au nord-est de la falaise sud de Bandiagara. Selon Hélène Leloup (1994 : 100) au sujet de cette statue, les trois traits verticaux en dessous des yeux correspondent aux scarifications des Kassoumbara, premiers émigrants de la région. Ces marques, de même que les trois lignes parallèles s'étirant des tempes au menton - caractéristique observée à partir de la moitié est de la falaise - et la coiffure d'origine Songhay témoignent de l'histoire ancienne et complexe du peuplement de cette région.
Parmi le large corpus de la statuaire Dogon, les sculptures relevant du style Wakara sont rares. La statue présentée ici, datée par Hélène Leloup du XIXe siècle, s'apparente en particulier à celles (toutes féminines) : de la collection Tristan Tzara, présentée au Museum of Modern Art, à New York, dans la célèbre exposition African Negro Art (Sweeney, 1935 : n° 16), de la collection Lester Wunderman, aujourd'hui conservée au Musée Dapper (Dapper, 1996 : 16), de la collection George Lois (Robbins et Nooter, 2004 : 58, n° 17), et enfin à celle reproduite dans Leloup (1994 : n° 99). Les deux dernières offrent en particulier, comme ici, une coiffure à crête sagittale architecturée en chevrons, laissant supposer un atelier commun. Au sein de ce corpus restreint, cette statue se distingue par la très belle dynamique de l'allure, alliant fermeté des formes anguleuses et fluidité des lignes, par la richesse de l'ornementation corporelle - en particulier des scarifications profondément gravées ornant le corps et le visage - et par la très belle patine profonde, brun rouge.
Selon Hélène Leloup, il est vraisemblable que les deux mains soutenant le ventre légèrement proéminent signalent que la femme est gravide, "ce qui est probable puisque ces sculptures étaient utilisées pour les rites de fécondité" (idem : 100). Liées aux ancêtres féminins, elles favorisaient la fertilité et le bon déroulement des grossesses.
A superb Dogon Wakara female figure, Mali
The Wakara style developed around Douentza, which lies to the north-east of Bandiagara's southern cliff. According to Hélène Leloup (1994: 100) the three vertical features below the eyes on this figure correspond to the scarification marks of the Kassambara, the first emigrants to the area. These marks, along with the three parallel lines which stretch from the temples to the chin (a feature considered to come from the eastern half of the cliff) and the Songhai origin of the coiffure all testify to the old and complex history of the area's settlement. Hélène Leloup has dated the offered figure to the 19th century.
Among the broad corpus of Dogon statuary, examples of the Wakara style are particularly limited in number. The offered figure bears a particular resemblance to female figures in the collections of Tristan Tzara, exhibited at the Museum of Modern Art's famous 'African Negro Art' exhibition (Sweeney, 1935: no. 16), Lester Wunderman, now in the Musée Dapper (Dapper, 1996: 16), George Laws (Robbins and Nooter, 2004: 58, no. 17), and to another figure reproduced by Leloup (1994: no. 99). The latter two have similar coiffures to that of the offered figure; all three have a sagittal crest constructed of a series of chevrons, perhaps suggesting that they all come from the same atelier. Within the small corpus of Wakara figures, the offered figure is distinguished by its beautiful and dynamic bearing, its strong angular forms and fluid lines and by the rich ornamentation of the body, in particular the deeply incised scarification marks and the beautiful deep red-brown patina.
Hélène Leloup has suggested that the two hands supporting the slightly prominent belly indicate that the woman is pregnant, 'which is probable since these sculptures were used at fertility rituals' (ibid.: 100). Connected to female ancestors, these figures aided fertility and the smooth course of pregnancy.