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Todas las subastas / Etnográfica / A bronze sculpture - Dogon - Mali (No reserve price)
Dogon Horseman with Female Rider, Mali Mali, Duleri region, The horse is conceived with an exceptionally elongated body and four tall, slender legs, creating an elegant and almost architectural structure. Its cylindrical torso is carried high above the ground, while the long neck rises vertically toward a strongly stylized head. The animal is represented as a stallion. Its chest and shoulders are ornamented with repeated overlapping crescent-shaped elements, suggesting an elaborate ceremonial covering, harness or decorative trapping. The horse's head is particularly expressive. Upright ears, a projecting muzzle and circular eyes are combined with a carefully modelled bridle. Long curved reins descend from the mouth and are controlled by the principal rider. The deliberately exaggerated proportions of the animal emphasize height, dignity and visual rhythm rather than anatomical naturalism. The male rider occupies the dominant position. His elongated body and long neck culminate in a strongly profiled head with a prominent pointed beard. A conical coiffure or cap is articulated by horizontal bands and terminates in a small rounded finial. Large circular eyes, a projecting nose and an open or protruding mouth give the face an animated expression. One arm extends toward the reins, while the other holds a long vertical implement or staff. Behind him sits a smaller female figure, identifiable by the modelling of the breasts. Her body follows the posture of the principal rider, while her arms extend forward toward him. The placement of the two figures one behind the other creates a compact human group that contrasts effectively with the extreme verticality and open structure of the horse. Equestrian imagery occupies an important place within Dogon sculpture. The horse was historically a valuable and prestigious animal in the western Sudan and could evoke authority, wealth, mobility and elevated social standing. Mounted figures in Dogon art may also refer to ancestors, warriors, chiefs or other significant personages, although the precise identity of an individual rider cannot normally be determined from sculptural form alone. The representation of a mounted couple adds another interpretative dimension. The juxtaposition of male and female figures may evoke partnership, lineage, fertility, continuity or social status. Similar equestrian couples have sometimes been interpreted in the art market as marriage-related objects or wedding gifts. Without documentation of the original context, however, such a specific function should remain a possibility rather than a definitive identification. The attribution to the Duleri region is particularly valuable because Dogon artistic production encompasses considerable regional and stylistic diversity. The present work should therefore not be treated as a generalized western Sudanic or Bamana equestrian sculpture. Its recorded identification places it specifically within a Dogon context in the Duleri region of Mali. The use of bronze or copper alloy further distinguishes the sculpture from the wooden equestrian figures more commonly associated with Dogon collections. Lost-wax casting allows the horse, riders, reins and projecting attributes to form an intricate three-dimensional composition. Slight asymmetries and irregularities in modelling contribute to the individuality of the casting. Particular attention has been devoted to the horse's harness and chest ornamentation, the facial features of the riders, the thin reins and the vertical attribute carried by the principal figure. These details contrast with the deliberately elongated and simplified treatment of the bodies and reinforce the rhythmic character of the composition. The metal surface displays predominantly dark brown to greenish tones with lighter exposed areas, localized oxidation and surface deposits. Variations in patination and wear are visible throughout. Literature: Hélène Leloup, Dogon, Musée du quai Branly and Somogy Éditions d’Art, Paris, 2011. Hélène Leloup, Statuaire Dogon, Amez, Strasbourg, 1994. Kate Ezra, Art of the Dogon: Selections from the Lester Wunderman Collection, Metropolitan Museum of Art, New York, 1988. Jean Laude, African Art of the Dogon: The Myths of the Cliff Dwellers, The Viking Press, New York, 1973. Some of the information and photos are generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history documents. All information and photos are protected by copyright. Inv. No. MAZ28995 Legal Framework Under the 1970 UNESCO Convention in combination with the Kulturgutschutz Gesetz (KGSG) any claim for the restitution of cultural property becomes time-barred three years after the competent authorities of the State of origin obtain knowledge of the object’s location and the identity of its possessor. All bronzes and terracotta items offered have been publicly exhibited in Wolfgang Jaenicke Gallery since 2001. Organisations such as DIGITAL BENIN and academic institutions such as the Technical University of Berlin, which have been intensively involved in restitution-reseaches (translocation-project) over the past seven years, are aware of our work, have inspected large parts of our collection and have visited us in our dependance in Lomé, Togo, among other places, to learn about the international Art trade on site. Furthermore, the National Commission for Museums and Monuments (NCMM) in Abuja, Nigeria, has been informed about our collection. In no case in the past have there been restitution claims against private institutions such as the Wolfgang Jaenicke Gallery Our Gallery addresses these structural challenges through a policy of maximum transparency and documentation. Should any questions or uncertainties arise, we invite you to contact us. Each matter will be reviewed diligently using all available resources.
Estimación:€900
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