- 48
Marionnette, Bamana, Mali
Estimate
40,000 - 70,000 EUR
Log in to view results
bidding is closed
Description
- Bamana
- Marionnette
- wood, cowry, stone, metal
- haut. 81 cm
- 31 4/5 in
Provenance
Collection Maurice Nicaud, Paris
Collection privée
Collection privée
Exhibited
Dakar, Musée Dynamique, L'Art Nègre, Sources, Evolution, Expansion, 1966
Paris, Grand-Palais, L'Art Nègre, Sources, Evolution, Expansion, 1966
Paris, Grand-Palais, L'Art Nègre, Sources, Evolution, Expansion, 1966
Literature
Senghor et Alii, L'Art Nègre, Sources, Evolution, Expansion, 1966, décrit sous le numéro 78, p. 46
Coste, "L'Art Nègre à la conquête du monde" in Connaissance des Arts, numéro 171, mai 1966, p. 109
Coste, "L'Art Nègre à la conquête du monde" in Connaissance des Arts, numéro 171, mai 1966, p. 109
Condition
Please refer to the department, + 33 1 53 05 52 67, alexis.maggiar@sothebys.com
"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."
"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
D'emblée s'impose la beauté cinglante qui fascina Helena Rubinstein lorsqu'elle acquit de Frédérick Lem la célèbre marionnette féminine qu'il collecta entre 1934-35 dans la région de Koutiala, chef-d’œuvre du corpus auquel celle-ci s'apparente très étroitement.
La majesté de la tête tient du contraste entre le mouvement ample des trois chignons transverses - selon l’ancienne coiffure de Ségou – ainsi que des seins galbés résumant le buste, et la force du visage émacié. A la tension des courbes répond le rythme sévère des traits anguleux dominés par le mouvement saccadé du long nez busqué, tandis que le front et le menton fuyants accentuent l’intensité des yeux plaqués de verre et de la bouche sertie de dents.
Selon Marie Jo Arnoldi (in Colleyn, 2002, p. 77), le théâtre de marionnettes Sogow bo a pour origine les pêcheurs Bozo et aurait été adoptée par les agriculteurs Bamana de Ségou à la fin du XIXe siècle. Liée à l'association des jeunes du village, cette manifestation "exprime une identité plus régionale qu'ethnique [...] dont chaque séquence met en scène un personnage symbolique [...] permettant aux jeunes Bamana d'accéder à la connaissance, à l'instruction et au réexamen critique des croyances et des valeurs de leur communauté" (idem, p. 76-78).
Le corpus des marionnettes anciennes merekun est très restreint. Deux autres présentent une tension comparable et des détails similaires (en particulier le nez busqué et les nervures de la coiffe) : celle de la collection d’Helena Rubinstein (Lem, 1948, p. 59, n° 13) et celle reproduite dans Colleyn (2002, p. 90, n° 66 et 2009, n° 59). Selon toute vraisemblance, toutes trois proviennent d’un même atelier, voire du même artiste, et dateraient du tout début du XXe siècle (Colleyn, idem).
En 1966, Dakar accueille, à l'initiative de Léopold Sédar Senghor, le Premier Festival Mondial des Arts Nègres. L'exposition qui l'accompagne - Art Nègre, Sources, Evolution, Expansion - et qui sera présentée à Paris, au Grand-Palais, quelques mois plus tard, constitue alors le manifeste le plus ambitieux en faveur de la reconnaissance des arts d'Afrique, et du rôle qu'ils jouèrent dans l'élaboration de l'art moderne. Les grandes institutions (Metropolitan Museum of Art, Museum für Völkerkunde de Berlin, musée de Tervuren, musée de l'Homme, etc.) de même que les plus importants collectionneurs et marchands de l'époque y participent. Parmi eux figure le marchand parisien Maurice Nicaud, qui prête les fleurons de sa collection personnelle - dont cette majestueuse marionnette merekun.
Bamana marionette, Mali
From the first glance the viewer is struck by the arresting beauty that fascinated Helena Rubinstein when she acquired from Frédérick Lem the celebrated female marionette that he collected in the Koutiala region between 1934-1935. It is a masterpiece of the corpus to which it is so closely linked.
The majestic appearance of the head is owed to the ample movement of the three transverse chignons - in the old Segou style - as well as the shapely breasts that comprise the torso and the forcefulness of the emaciated face. The tension of the curves is echoed in the harsh rhythm of the angular features dominated by the staccato movement of the long hooked nose, while the receding forehead and weak chin accentuate the intensity of the plated glass eyes and of the teeth-filled mouth.
According to Marie Jo Arnoldi (in Colleyn, 2002, p. 77), Sogow bo marionette theatre originates with Bozo fishermen and is said to have been adopted by Bamana farmers from Segou in the late 19th century. This event is related to the association of the village youth and "expresses an identity that is more regional than ethnic [...] where each sequence depicts a symbolic figure [...] enabling young Bamanas to gain access to knowledge, education and critical re-examination of the beliefs and values of their community " (ibid, p. 76-78).
The corpus of ancient merekun marionettes is very restricted. Two others display a comparable tension and similar details (especially the hooked nose and the ridges of the coiffure): the one from the Helena Rubinstein Collection (Lem, 1948, p. 59, n° 13) and the one reproduced in Colleyn (2002, p. 90, No. 66 et 2009, No. 59). In all likelihood, all three came from the same workshop, possibly the same artist, and date from the beginning of the 20th century (Colleyn, ibid).
In 1966, under the impetus of Leopold Sedar Senghor, Dakar hosted the First World Festival of Negro Arts. The accompanying exhibition - Art Nègre, Sources, Evolution, Expansion - which would go on to be shown in Paris at the Grand Palais a few months later, became the most ambitious promotion initiative of the arts of Africa, and of the role they played in the development of modern art. Great institutions (the Metropolitan Museum of Art, the Museum für Völkerkunde de Berlin, the Tervuren Museum, the Musée de l'Homme, etc.) as well as the most important collectors and dealers of the time took part in it. Among them, Parisian dealer Maurice Nicaud who lent the jewels of his collection - including this majestic merekun marionette.
La majesté de la tête tient du contraste entre le mouvement ample des trois chignons transverses - selon l’ancienne coiffure de Ségou – ainsi que des seins galbés résumant le buste, et la force du visage émacié. A la tension des courbes répond le rythme sévère des traits anguleux dominés par le mouvement saccadé du long nez busqué, tandis que le front et le menton fuyants accentuent l’intensité des yeux plaqués de verre et de la bouche sertie de dents.
Selon Marie Jo Arnoldi (in Colleyn, 2002, p. 77), le théâtre de marionnettes Sogow bo a pour origine les pêcheurs Bozo et aurait été adoptée par les agriculteurs Bamana de Ségou à la fin du XIXe siècle. Liée à l'association des jeunes du village, cette manifestation "exprime une identité plus régionale qu'ethnique [...] dont chaque séquence met en scène un personnage symbolique [...] permettant aux jeunes Bamana d'accéder à la connaissance, à l'instruction et au réexamen critique des croyances et des valeurs de leur communauté" (idem, p. 76-78).
Le corpus des marionnettes anciennes merekun est très restreint. Deux autres présentent une tension comparable et des détails similaires (en particulier le nez busqué et les nervures de la coiffe) : celle de la collection d’Helena Rubinstein (Lem, 1948, p. 59, n° 13) et celle reproduite dans Colleyn (2002, p. 90, n° 66 et 2009, n° 59). Selon toute vraisemblance, toutes trois proviennent d’un même atelier, voire du même artiste, et dateraient du tout début du XXe siècle (Colleyn, idem).
En 1966, Dakar accueille, à l'initiative de Léopold Sédar Senghor, le Premier Festival Mondial des Arts Nègres. L'exposition qui l'accompagne - Art Nègre, Sources, Evolution, Expansion - et qui sera présentée à Paris, au Grand-Palais, quelques mois plus tard, constitue alors le manifeste le plus ambitieux en faveur de la reconnaissance des arts d'Afrique, et du rôle qu'ils jouèrent dans l'élaboration de l'art moderne. Les grandes institutions (Metropolitan Museum of Art, Museum für Völkerkunde de Berlin, musée de Tervuren, musée de l'Homme, etc.) de même que les plus importants collectionneurs et marchands de l'époque y participent. Parmi eux figure le marchand parisien Maurice Nicaud, qui prête les fleurons de sa collection personnelle - dont cette majestueuse marionnette merekun.
Bamana marionette, Mali
From the first glance the viewer is struck by the arresting beauty that fascinated Helena Rubinstein when she acquired from Frédérick Lem the celebrated female marionette that he collected in the Koutiala region between 1934-1935. It is a masterpiece of the corpus to which it is so closely linked.
The majestic appearance of the head is owed to the ample movement of the three transverse chignons - in the old Segou style - as well as the shapely breasts that comprise the torso and the forcefulness of the emaciated face. The tension of the curves is echoed in the harsh rhythm of the angular features dominated by the staccato movement of the long hooked nose, while the receding forehead and weak chin accentuate the intensity of the plated glass eyes and of the teeth-filled mouth.
According to Marie Jo Arnoldi (in Colleyn, 2002, p. 77), Sogow bo marionette theatre originates with Bozo fishermen and is said to have been adopted by Bamana farmers from Segou in the late 19th century. This event is related to the association of the village youth and "expresses an identity that is more regional than ethnic [...] where each sequence depicts a symbolic figure [...] enabling young Bamanas to gain access to knowledge, education and critical re-examination of the beliefs and values of their community " (ibid, p. 76-78).
The corpus of ancient merekun marionettes is very restricted. Two others display a comparable tension and similar details (especially the hooked nose and the ridges of the coiffure): the one from the Helena Rubinstein Collection (Lem, 1948, p. 59, n° 13) and the one reproduced in Colleyn (2002, p. 90, No. 66 et 2009, No. 59). In all likelihood, all three came from the same workshop, possibly the same artist, and date from the beginning of the 20th century (Colleyn, ibid).
In 1966, under the impetus of Leopold Sedar Senghor, Dakar hosted the First World Festival of Negro Arts. The accompanying exhibition - Art Nègre, Sources, Evolution, Expansion - which would go on to be shown in Paris at the Grand Palais a few months later, became the most ambitious promotion initiative of the arts of Africa, and of the role they played in the development of modern art. Great institutions (the Metropolitan Museum of Art, the Museum für Völkerkunde de Berlin, the Tervuren Museum, the Musée de l'Homme, etc.) as well as the most important collectors and dealers of the time took part in it. Among them, Parisian dealer Maurice Nicaud who lent the jewels of his collection - including this majestic merekun marionette.