BAGA SHRINE OBJECT, REPUBLIC OF GUINEA

a-Tshol/Nach/Elek.

John J. Klejman, New York
Mr. and Mrs. Klaus G. Perls, New York, acquired from the above
Acquired by the present owner from the above, 1990s

Very good condition for an object of this type and age. Age crack to openwork just above the central post. Small radiating age cracks throughout cylindrical element and and hairline cracks to top of cylindrical element. Small wedge-shaped restoration to cylindrical element beneath back of stylized head with toning to match patina and some wax fill. Original holes for the insertion of additional adornments including a hole at the peak of the coiffure. Some losses to smaller holes. Minor surface losses around bottom rim and top of cylindrical element (insect damage). Rubbing, minor abrasions, nicks and scratches consistent with age and use. Exceptionally fine medium to dark brown patina with residue. Remnants of an old label on outside as seen in photographs, gold J.J. Klejman Gallery label inside. Square metal sleeve inset with glue at center underneath for attachment to base.
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.

For related examples cf. Kerchache (1993: 379, fig. 345), for one in the Museu de Etnologia, Lisbon; Sotheby's New York, November 17, 2006, lot 27, for one formerly in the William W. Brill Collection, New York; Vogel (1981: fig. 26) for one in the Paul Tishman Collection, today in the National Museum of African Art, Smithsonian Institution, Washington, D.C.; and Sotheby's New York, May 16, 2008, lot 53, for one formerly in the Dinhofer Collection, Brooklyn.

Paulme (in Vogel 1981: 58) describes the function of these altars based on her field work in 1954: "In each family house where the eldest member of the family resides, a dark corner is reserved for the elekel shrine, which is reinvigorated periodically with sacrificial blood. [...] The shrine includes a flywhisk made from a cow's tail [and other various materials], which plays a role in purification ceremonies and which is indispensable in hunting down sorcerers. A basket protects the whole assemblage. Next to, or on top of, the basket is the elek sculpture embodying the ensemble that bears its name. The tutelary role of the elek explains the presence of wholes in the head: horns filled with magic powers and unguents, usually kept in the basket, were attached there. [...] The elek was present at funerals of family heads, adult members of the group, neighbours, allies, and all other important persons. To say that the elek represented the lineage on these occasions is insufficient; it was at once the protector of the group and its most visible sign. It incarnated in some sense the life of the lineage."