Superbe statuette féminine, Sénufo, Côte d'Ivoire ou Burkina-Faso

madeö, dont la pose - jambes fléchies, coudes rejetés vers l'arrière, tête, seins et abdomen projetés vers l'avant - suggère un corps en mouvement. La prise de possession de l'espace est rendue par le fractionnement du corps en volumes anguleux inclinés en profondeur, les plans obliques invitant le regard à glisser vers l'intérieur de la sculpture. A la triangulation des volumes vus de face répond, au dos, un puissant jeu de lignes brisées soulignant le geste des bras et signifiant l'arête dorsale et les scarifications. Très belle opposition entre l'étroit visage - presque plat - et la rondeur de la tête, vue de profil. Superbe patine croûteuse, brun nuancé, brillante sur les reliefs.

Ancienne collection allemande

Reproduite dans :
Klever, Bruckmann's Handbuch der afrikanischen Kunst, 1975, n° 175
Robbins et Nooter, African Art in American Collections, 1989 : 123, n° 174

Good condition overall. Wear consistent with age and use within the culture. Some very minor old superficial losses to proper left nostril, lips and tips of fingers and toes. An old abrasion (approximately 3 x 1.5cm) on proper left knee. Minor old losses to coiffure crests and proper left ear. Elbows slightly rubbed.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

La collection Brian et Diane Leyden d'art Bété et Sénufo s'est construite autour du lien entre les solutions plastiques offertes par l'ancienne statuaire africaine et sa réception par les artistes modernes au début du XX^e siècle. L'exceptionnelle dynamique des volumes - jouant sur les rythmes successifs, la triangulation, la juxtaposition des plans et l'accentuation des points de rupture - renvoie de manière saisissante au vocabulaire qui fonda le Cubisme, et pour les artistes modernes en général, les recherches plastiques sur le mouvement (cf. Plisnier, introduction ; Pablo Picasso, Camera work, Nu debout, août 1913).

Le style de cette statuette, de même que son iconographie, permettent de l'attribuer aux Sénufo septentrionaux. Sa construction en volumes anguleux inclinés en profondeur, selon des plans obliques glissant vers l'arrière, l'apparente à la statuaire des Turka, peuple situé à la frontière du Mali et du Burkina-Faso. En revanche, sa coiffe en crête sagittale, de même que les scarifications ornant le visage et le dos, permettent de l'attribuer avec certitude à un sculpteur Sénufo. Selon Till Förster (communication personnelle, juillet 2007), les scarifications dorsales correspondent à celles autrefois pratiquées sur les jeunes-filles Sénufo lorsqu'elles tombaient malades. 

Utilisées par les devins (le plus souvent un membre féminin de la société du Sandogo), les statuettes madeö sont considérées comme le support des relations s'établissant entre le devin et les esprits, à l'intention du patient (Glaze, 1981 : 54-60). Ici, la profonde patine brillante au sommet du front - touché par le devin lors de la consultation - atteste son usage répété et prolongé. 

Par son extraordinaire conception plastique, cette œuvre offre l'un des plus saisissants exemples de la statuaire Sénufo et l'expression la plus aboutie du talent de ses sculpteurs.

A SUPERB SENUFO FEMALE FIGURE, CÔTE D'IVOIRE OR BURKINA FASO

The Brian and Diane Leyden collection of Bete and Senufo art is built around the tangible link between plastic solutions offered by old African statuary and their appreciation by modern artists during the beginning of the 20^th century.

The pose of this madeö - bent legs, elbows thrown back, head, breasts and abdomen projecting forwards - suggests a body in movement.  It is projected into space by dividing the body into angular volumes sloping in depth, the oblique planes guiding the eye towards the inside of the sculpture.  The triangulation of the volumes viewed from the front is echoed at the back by a powerful pattern of broken lines, underlining the gesture of the arms and representing the spine and ridged repeating scarifications. A contrast has been created between the narrow and almost flat face, and the round shape of the head, seen in profile.  It is covered by a superb, thick and encrusted patina, in a finely shaded brown, that shines on the protruding parts.

The exceptionally dynamic volumes - playing on successive rhythms, triangulation, juxtaposition of planes, and accentuation of breaking points - are a striking reminder of the vocabulary that founded Cubism, and in the case of modern artists in general, the plastic research carried out by the movement (cf. Pablo Picasso, Camera Work, Standing Nude, August 1913).

Based on the style and iconography of this statuette we can attribute it to the northern Senufo.  Its construction, based on angular volumes sloping in depth, following the diagonal planes that slide towards the back, relates to the statuary of the Turka, a people situated at the border between Mali and Burkina-Faso.  On the other hand, the headdress in the form of a sagittal crest, as well as the scarification embellishing the face and back, point with certainty to a Senufo sculptor.  According to Till Förster (personal communication, July 2007), the scarification on the back is similar to those formerly applied on young Senufo girls when they fell ill.

Used by soothsayers (usually a female member of the Sandogo society), madeö statuettes are considered to be a medium for relations between diviners and spirits, established to help cure the patient (Glaze, 1981: 54-60).  In this case, the deep shiny patina on the top of the forehead - touched by the soothsayer during consultations - provides evidence of its repeated and prolonged use.

The extraordinary plastic conception of this work makes it one of the most striking examples of Senufo statuary and the most accomplished expression of the talents of its sculptors.