Cuilller, Nuna, Burkina Faso

Collection Thomas G.B. Wheelock, New York

Expositions:
The African-American Institute, New York, Art from the Sahel, 1974
Colorado State University, Fort Collins, Art from Upper Volta, 1975
The African-American Institute, New York, Traditional Sculpture from Upper Volta, 24 octobre 1978 - 24 mars 1979
The Museum of African Art, Washington D.C., Traditional Sculpture from Upper Volta, été 1979

Publications:
Hersey, Art from the Sahel, 1974 : 4, n° F-60
Grace & Wheelock, Art from Upper Volta, 1975 : 7, n° 48
Skougstad, Traditional Sculpture from Upper Volta, 1978 : 37, n° 35
Robbins, Traditional Sculpture from Upper Volta, 1979 : 10, n° 84
Barna, "Collecting: Gathering Force" in House and Garden, vol. 158, n° 4, avril 1986 : 104
Roy, Art of the Upper Volta Rivers, 1987 : 67, n° 35
Roy & Wheelock, Land of Flying Masks, 2007, n° 464

Very good condition overall; wear consistent with age and use within the culture. Some losses to the edge of the bowl due to prolonged use. Very fine encrusted 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."

La courbe profonde du cuilleron décuple l'élan de la tête au port altier, s'étirant dans une remarquable dynamique scandée par le rythme serré de la crinière dentelée. Cette cuiller-sculpture dédiée à l'esprit protecteur de la famille – une antilope – était transmise de génération en génération. Utilisée pour servir la sauce qui accompagne le mil bouilli, elle protégeait son détenteur – l'esprit en altérant la couleur si elle entrait en contact avec une sauce empoisonnée (Roy, 1987 : 67).

Nuna spoon, Burkina Faso

The deep curve of the handle of the spoon enhances the spirit of the proudly held head, which rises in a broad sweep from the bowl. This spoon-sculpture was dedicated to the protective spirit of the family (in this case an antelope) and was handed down from generation to generation. The spoon was used to serve the sauce which accompanied boiled millet. The spirit would protect the person who held the spoon by changing its colour if it came into contact with sauce that had been poisoned (Roy, 1987: 67).