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A RARE AND EXCEPTIONAL BENIN BRONZE ‘TWIN MUDFISH’ STOOL, 17TH 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 RARE AND EXCEPTIONAL BENIN BRONZE ‘TWIN MUDFISH’ STOOL, 17TH CENTURY This lot is from a single owner collection and is therefore offered without reserve Scientific Analysis Report: A thermoluminescence analysis report issued by Laboratory Kotalla on 18 February 1997, based on sample number 970218, sets the manufacturing date of both samples taken to be 350 years +/-20% years ago, consistent with the dating above. A copy of the report accompanies this lot. Alloy Composition Report: A metallurgical analysis report issued by Aventis – Research & Technologies on 20 August 1998, sample number ND 771, sets the alloy date of the sample taken to the 17 th century, consistent with the dating above. The alloy analytics report indicates an alloy composition of 60% copper, 29% zinc, 0.47% nickel, 2.5% lead, 1.1% tin, <0.02% arsenic, <0.02% antimony, <0.02% cadmium. A copy of the report accompanies this lot. Nigeria, Court of Benin. Finely cast in two parts, in the form of two intertwined mudfish of flattened form with circular eyes, finely incised to the head with lozenges centered by circles, flanked by ribbed whiskers, the body rendered with stippled scales, all supported on a flaring stand decorated to the side with a braided band above a stippled ground. Provenance: René David, Galerie Walu, Zurich, by 1997. Professor Gert Chesi, acquired from the above for the Museum der V?lker (formerly Haus der V?lker, Museum für Kunst und Ethnographie), Schwaz, Tyrol, Austria, and subsequently de-accessed. A copy of a signed certificate from Galerie Walu, dated 21 February 1997 and confirming the dating and attribution above, accompanies the lot. A copy of a Memorandum of Understanding between the National Commission for Museums and Monuments and Galerie Walu, signed by the museum’s Director General and Chief Executive Dr. Omotoso Eluyemi and the gallery’s owner René David, dated 4 May 2001, confirming that the present lot is not a prohibited object under Nigerian law , accompanies the lot. Dr. Omotoso Eluyemi (1939-2006) was born in Ife and became the first Yoruba scholar to earn a Ph.D. in archaeology, at the Academy of Sciences, Moscow, in 1979. He served as Curator in the Federal Department of Antiquities, Lagos in 1969-70, and later pioneered archaeological studies at Obafemi Awolowo University, founding its Department of Archaeology in 1984 and serving as its Chair until 1989. A member of the World Archaeological Congress and long-standing Editorial Board member of the West African Journal of Archaeology, he later established the Center for Yoruba Cultural Studies and Elusope Temple of Deities. In 2000, he was appointed by President Olusegun Obasanjo to head the National Commission for Museums and Monuments. Galerie Walu is a Swiss family gallery devoted to traditional African art, particularly the cultures of West Africa, with roots going back to 1957. Its defining figure was René David (1928-2015), a traveler, dealer, and connoisseur whose repeated journeys to Mali, Cameroon, the Congo, C?te d’Ivoire, Ghana, and other regions shaped both the gallery’s collections and its reputation. Together with Denise David, he later established Galerie Walu on R?mistrasse in Zurich, where it became an important meeting place for collectors and scholars of African art, known for carefully selected works, rigorous documentation, and a strong commitment to cultural context. Their son, Jean David, continued the family business and further developed Galerie Walu’s role as a respected specialist gallery for African and tribal art. By the 1990s, Galerie Walu was widely recognized for its exhibitions, publications, and expertise in the field. 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 minor wear, casting irregularities, traces of use, small dents, few fine cracks, minor surface corrosion, old soldering marks to the underside of the base and mudfish. Superb, naturally grown patina with malachite and cuprite encrustations. Weight: 7.5 kg Dimensions: Length 45.8 cm The ancient kingdom of Benin lies in the tropical rain forest of West Africa, in present-day Nigeria. During its classical age, from the 14th to the 19th centuries, it produced one of the continent’s most glorious artistic legacies. To reflect the splendor of the royal court, the Oba (king) commissioned highly skilled artisans to create rare and beautiful works of art in materials such as ivory and bronze. At this time, the use of bronze objects was limited to individuals of the highest social class and fulfilled special ceremonial needs. In Benin cosmology, the mudfish (flat-head catfish) was a potent emblem of power, transformation, and royal authority. Its remarkable ability to lie dormant in the mud during the dry season and reemerge with the rains was interpreted as a form of rebirth, symbolizing the dual existence of royalty between the earthly and divine realms. This association reinforced the idea that Benin kings and queens themselves inhabited two worlds simultaneously, with one foot on the terrestrial plane and one foot in the spiritual domain, underscoring their unique authority and sacred status. The mudfish can also emit a shock when disturbed, elevating its status as a symbol of power. Literature comparison: Compare a closely related bronze stool with two intertwined mud fish, Benin city, dated 16 th century, 34.5 cm wide, in the National Museum Lagos. Compare a related brass plaque with two mudfish, Court of Benin, Nigeria, dated ca. 1540-1570, 23.5 cm long, in the Metropolitan Museum of Art, object number 1991.17.24.

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