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A FINE SENUFO WOOD ‘FIRESPITTER’ HELMET MASK, KPONYUGO, FIRST HALF OF THE 20TH CENTURY
奥地利
09月11日 晚上8点 开拍 / 09月09日 下午3点 截止委托
拍品描述 翻译
A FINE SENUFO WOOD ‘FIRESPITTER’ HELMET MASK, KPONYUGO, FIRST HALF OF THE 20TH CENTURY This lot is from a single owner collection and is therefore offered without reserve Ivory Coast. Boldly and skillfully carved as a zoomorphic head with squared open mouth showing sharp fangs to one side and terminating in a pair of long, curved horns to the other, surmounted by a cup with chameleon and hornbill figures above the bulging eyes. Provenance: Antiquités à la Reine Margot, Paris, 8 December 1959. A private collector, acquired from the above. Sotheby’s New York, 16 May 2008, lot 87, sold for USD 11,250 or approx. EUR 15,500 (converted and adjusted for inflation at the time of writing). The Joey and Toby Tanenbaum Collection, Toronto, acquired from the above. Professor Gert Chesi, acquired from the above via the Swiss trade for the Museum der V?lker (formerly Haus der V?lker, Museum für Kunst und Ethnographie), Schwaz, Tyrol, Austria, and subsequently de-accessed. La Reine Margot is a Parisian gallery specializing in archaeological objects, established in 1938 by Madame Mengin, who would play a pivotal role in the formation of numerous collections, including that of Marie-Joseph and édouard Richard, now preserved at the Mandet Museum in Riom. Since 1980, the gallery has been under the direction of Gilles Cohen, continuing its focus on scholarly and significant acquisitions in the field of archaeology. Joey and Toby Tanenbaum were prominent Canadian art collectors and patrons whose extensive acquisitions and generous gifts significantly shaped institutional collections in Ontario. Over several decades they assembled important holdings of European and African art. In 2002 they gave more than 200 European works to the Art Gallery of Hamilton, followed in 2010 by their entire collection of African art. In 2015, Joey and his wife Toby each received an honorary Doctor of Laws degree from McMaster University in recognition of their incredible philanthropy. Gert Chesi (b. 1940) is an Austrian photographer, author, and art collector. In 1995, Chesi founded the Museum der V?lker (formerly Haus der V?lker, Museum für Kunst und Ethnographie), Schwaz, Tyrol, Austria, a museum of art and ethnography whose collection consists mainly of objects acquired during Chesi’s travels through Africa and Asia, most of which were assembled in the 1990s and early 2000s. He also authored several books on African voodoo and magic rituals, including ‘Voodoo. Afrikas geheime Macht’ (1987) and ‘Die letzten Afrikaner’ (1977). Condition: Good condition with expected wear, traces of use, minor chips, surface abrasion, small nicks, light surface scratches, few fine age cracks, remnants of brown and white pigment, an old screw inserted to the rim for support. The wood with a superb, naturally grown patina. Weight: 3.2 kg Dimensions: Length 79.5 cm This large and elaborate Senufo helmet mask , known as kponyugo (alternately spelled wanyugo), incorporates a pastiche of animal attributes, including antelope horns, crocodile jaws and teeth, warthog tusks, and figures of a hornbill and chameleon. The combination produces a formidable and terrifying vision, embodying both natural and supernatural strength. Considered the most prestigious and powerful of all Senufo masks, these were traditionally worn and danced by members of the men’s Poro society during the funerals of high-ranking dignitaries, serving both ritual and symbolic functions within Senufo funerary practice. Due to the formidable and aggressive character of these helmet masks and the intensity of their associated performances, women and children were traditionally prohibited from witnessing them, a restriction observed rigorously because of the potentially severe consequences believed to result from transgression. Glaze notes that "Senufo helmet masquerades are [...] conceived to be engaged in a kind of supernatural warfare, wielding aggressive and protective weaponry, as symbolized by core iconography formulas such as devouring jaws and dagger-like tusks. The masquerade ensemble and occasionally the sculpture itself typically support a host of additive substances believed to have magical efficacy when correctly assembled and directed. Furthermore, the performances of the most potent masquerades are characterized by dramatic demonstrations of their supernatural powers. Fearsome manifestations [...] are said to include, for example, not merely the emission of fire but in some cases a swarm of vicious bees that leaves the open jaws of the mask and after hovering over the crowd returns to the mask." (Glaze, Barbier, Jean-Paul, Art of C?te d’Ivoire from the Collection of the Barbier-Mueller Museum, Barbier-Mueller Museum, Geneva, 1993, p. 19) Literature comparison: Compare a closely related Siena wood ritual helmet mask, Ivory Coast, dated first half 20 th century, 86.4 cm long, in the Allen Memorial Art Museum, object number 1955.36. Auction result comparison: Type: Closely related Auction: Christie’s New York, 10 May 2018, lot 911 Price: USD 47,500 or approx. EUR 55,500 converted and adjusted for inflation at the time of writing Description: A senufo firespitter helmet mask, Ivory coast, 20th century Expert remark: Compare the closely related form, manner of carving, and size (79 cm). Auction result comparison: Type: Closely related Auction: Sotheby’s New York, 15 May 2015, lot 157 Price: USD 27,500 or approx. EUR 34,500 converted and adjusted for inflation at the time of writing Description: Senufo Helmet Mask (kponyugu), Ivory Coast Expert remark: Compare the similar form, manner of carving, and color of the wood. Note the size (96.5 cm).

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