Porte, Yoruba, Nigeria

Collection privée

Very good condition overall. Wear consistent with age and use within the culture. Traces of wear to the edges. 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.
"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."

Cette porte, superbement ouvragée, se rattache selon toute vraisemblance au corpus attribué à l'atelier du célèbre maître-sculpteur Yoruba, Olówè of Ise (né vers 1873), qui œuvra essentiellement pour les membres de l'aristocratie Yoruba. 

Elle se distingue par la richesse de son iconographie, rigoureusement agencée selon quatre registres figurant chacun deux rangées de quatre oiseaux - considérés comme les messagers des dieux. Sur les registres inférieurs, ces oiseaux picorent les yeux de têtes humaines, selon la représentation classique d'une scène de sacrifice humain permettant d'entrer en communication avec les divinités (cf. Walker in Phillips (Africa, The Art of a Continent, 1995, p.419). Dans la partie supérieure, les têtes humaines sont remplacées par un très rare motif animalier, dont la signification demeure inconnue.  

A la qualité remarquable de la sculpture, notamment dans l'individualité de chaque oiseau représenté, s'ajoute l'ancienneté attestée par la patine profonde. Voir Sotheby's (New York, 15 mai 2009, n° 166) et Walker (Olówè of Ise : A Yoruba Sculptor to King, 1998, p. 53, n° 9) pour deux portes Yoruba attribuées à Olówè of Ise, présentant une iconographie comparable.