Bamana Male Antelope Headdress, Mali
Lot 52
Bamana Male Antelope Headdress, Mali
US$ 50,000 - 70,000
€ 41,000 - 57,000

African and Oceanic Art

5 Dec 2017, 13:00 PST

Los Angeles

Lot Details
Bamana Male Antelope Headdress, Mali Bamana Male Antelope Headdress, Mali Bamana Male Antelope Headdress, Mali
Bamana Male Antelope Headdress, Mali
chiwara
Wood
height 30 3/16in (76.7cm)

Provenance
Jay C. Leff, Uniontown, PA
Merton Simpson, New York
S. Thomas Alexander III, Saint Louis, acquired from the above in 1976
Private American Collection

Exhibited
New York, Genesis - Ideas of Origin in African Sculpture, The Metropolitan Museum of Art, November 19, 2002 - April 13, 2003
Los Angeles, The Inner Eye: Vision and Transcendence in African Arts, LACMA, February 26 - July 9, 2017

Published
LaGamma, Alisa, Genesis: Ideas of Origin in African Sculpture, New Haven and London: Yale University Press, 2002, pp. 97, no. 53
Cotler, Holland, "A Show Bursting Out", New York Times, November 22, 2002
Robbins, Warren M., and Nancy Ingram Nooter, African Art in American Collections, Survey 1989, Washington, D.C., and London: Smithsonian Institution Press, 1989, pp. 73, no. 57

According to LaGamma, "This headdress unfolds as a series of distinct but united arabesques, making the design as much an articulation of the surrounding space as it is an inwardly solid sculptural form. The interstices of the neck and mane form an ellipse, which is echoed by the area between the antelope's neck and the underside of its muzzle. The sculptor has employed a rich vocabulary of graphic strokes: the line of the neck, the curves of the head and horns, and the sharp, serrated dorsal contour. In such a sophisticated visual tribute to the sogoni koun/ci wara tradition, the initiated eye can at once distinguish the separate animal references within the composite form and appreciate the masterful manner in which they have been combined into a single creation. As the eye travels across the sculpture, the features gradually but continually shift from the attenuated mouth, which is that of the anteater, to the humanized head, the vertical extension of the elegant antelope horns, and the ridge of the back, which suggests simultaneously the scales of the pangolin and an abstract mane. Although these passages are recognizable as discrete zoomorphic references, they nevertheless blend convincingly into a harmonious vision of a transcendent being." (Genesis: Ideas of Origin in African Sculpture, Metropolitan Museum of Art, New York, 2002, p. 97)
Activities
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