Masque, Nunuma ou Winiama , Burkina Faso

Collecté par Thomas G.B. Wheelock en 1974
Collection Thomas G.B. Wheelock, New York

Expositions:
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:
Grace & Wheelock, Art from Upper Volta, 1975 : 4, n° 41
Skougstad, Traditional Sculpture from Upper Volta, 1978 : 19, n° 14
Robbins, Traditional Sculpture from Upper Volta, 1979 : 8, n° 18
African Arts, Volume XII, n° 3, mai 1979 : 87
Barna, "Collecting : Gathering Force" in House and Garden, vol. 158, n° 4, avril 1986 : 104
Roy, The Art of the Upper Volta Rivers, 1987 : 240, n° 199
Anderson & Solomon, "Discovering a culture" in Living with Art, 1988 : 117
Robbins & Nooter, African Art in American Collection, 1989 : 90, n° 100
Coulibaly, "Protection des communautés et des individus : rites de guérison et de purification par les masques au Burkina Faso", in Art Tribal 06, automne 2004 : 147, n° 12
Roy & Wheelock, Land of Flying Masks, 2007, n° 63

Very good condition overall; wear consistent with age and use within the culture. As visible in the catalogue illustration the proper right part of the head-crest is broken and repaired, probably indigenously before the piece left the village. An indigenous repair to the projecting hook, as just visible in the catalogue illustration. Very old and worn at the edges due to great use. Fine patina with vibrant polychrome decoration.
"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."

Les Nunuma et les Winiama font partie des groupes - souvent appelés "Gurunsi" - occupant la région sud-ouest du Plateau Mossi. Mainte fois reproduit, ce masque offre dans la concentration de ses formes et dans la sensibilité de la sculpture et de l'ornementation, l'une des expressions les plus belles des célèbres masques dits "à planches" de la région.

Chaque élément, chaque dessin - dont les motifs géométriques reproduisent les scarifications corporelles portées par les hommes et les femmes - participent du vocabulaire visuel symbolisant la pensée Nunuma. Selon Christopher Roy (1987 : 240) à propos de ce masque représentant un esprit protecteur, le crochet incurvé vers le bas symbolise le calao, messager des morts, associé à la sorcellerie et à la divination". Repeint à chaque sortie - cérémonies de purification ou de prospérité du village, initiations ou funérailles -, il se distingue par le rouge vibrant issu d'une concoction à base d'hématite.

Nunuma or Winiama mask, Burkina Faso

The Nunuma and the Winiama are amongst the groups (often known as 'Gurunsi') that occupy the south-western Mossi plateau. This mask, which has been published many times, is one of the finest examples of the celebrated 'plank' masks of the region. The concentration of forms and sensitive sculpture and decoration of the offered lot mark it out as a remarkable example of this genre.

Each element of the sculpture and design of this mask – such as the geometric motifs that represent scarification marks – forms part of the visual vocabulary of Nunuma thought. Discussing this mask, which represents a protective spirit, Christopher Roy (1987: 240) suggests that the downward curved hook symbolises the hornbill, which is the messenger of death and associated with witchcraft and divination. This mask would have been used during initiation and funerary rites and at ceremonies that were intended to ensure the prosperity or purification of the village and would have been repainted each time it was used. The visual impact here is enhanced by the use of a vibrant red hematite based pigment.