Akan and Baule Figurative Sculpture
Asante shrine figure of a ruler. Ghana. Wood, pigments, kaolin (white clay), gold leaf, steel. 21'' x 6.5'' x 6''. The ruler is depicted holding a sword (akrafena) with cut adinkra symbols and a gong. He is wearing a traditional abotire with protection amulets and Asante sandals. Akan wooden images of male chiefs are uncommon. Kaolin pigment has been rubbed around the eyes which associates the ruler with his divine connection to the supernatural, or closeness to the supernatural world through devotion and reverence. Additionally gongs are used to reach a state of trance for divination. From the estate of Allan Stone, New York.
An Asante realistic scene from the large pool of Akan figurative illustrations, often referring to proverbs. This scene is of a blacksmith and his assistant shown at work. Wood, pigment H 37 cm. From the estate of René David (1928-2015), Zurich.
Baule (Baoulé) equestrian figure, Côte d’Ivoire. 9.5” H. Objects that have been repaired are especially interesting to me. Some representations of an individual were intentionally destroyed- particularly the face and likeness of the person after they passed away so that the spirit wouldn’t remain with the object. I have an example in which the face was destroyed and a different face was carved and glued on in its place. Estate of Thomas McNemar (1931-2020). McNemar lived and collected throughout Central and West Africa in the 1960s and 70s. He established galleries of African Art in New York and San Francisco, selling to museums and public and private collections in the United States and Europe.
Ebrié (Lagoons people) female figure (Nkpasopi) seated on a stool, Côte d’Ivoire. Wood, pigment, fabric. 25” H. Estate of Thomas McNemar (1931-2020). McNemar lived and collected throughout Central and West Africa in the 1960s and 70s. He established galleries of African Art in New York and San Francisco, selling to museums and public and private collections in the United States and Europe.
An Akan (Asante) “Akuaba” fertility figure, Ghana. Wood, 9.4” H (24cm). “The name Akuaba comes from the legend of a woman named Akua who was distraught at being barren, for Akan women desire above all to have children. She took her problem to a priest, who instructed her to commission a small wooden child (dua ba) from a carver and to carry the surrogate child on her back as if it were real. Akua was instructed to care for the figure as she would a living baby, even to give it gifts of beads and other trinkets. She did these things, but after a while was laughed at by her fellow villagers for her foolishness: "Akua, is that your child? Oh, look at Akua's child," they teased. With time the wooden figure became known as Akuaba (Akua's child). Eventually, however, she conceived and gave birth to a beautiful daughter, and her detractors came around to adopting the same measures to cure barrenness. "Akuaba" is now widely used by Akan-speakers not only for the well-known small figures but for all types of sculpture. Properly, though, it should probably be confined to those figures consecrated by priests who invoke the influence of their deity to induce pregnancy. A vehicle of spiritual power, the figure is carried by a woman for a stated period of time. In many cases, hopeful women adorn these figures with beaded hairstyles, waist beads, and earrings; they even suckle them and put them to sleep as they would a real child. “- Doran Ross #mooscollection ex Zemanek-Münster ex German private collection
An Akan (Fanta) “Akuaba” fertility figure, Ghana. Wood, glass beads, 26cm. “The name Akuaba comes from the legend of a woman named Akua who was distraught at being barren, for Akan women desire above all to have children. She took her problem to a priest, who instructed her to commission a small wooden child (dua ba) from a carver and to carry the surrogate child on her back as if it were real. Akua was instructed to care for the figure as she would a living baby, even to give it gifts of beads and other trinkets. She did these things, but after a while was laughed at by her fellow villagers for her foolishness: "Akua, is that your child? Oh, look at Akua's child," they teased. With time the wooden figure became known as Akuaba (Akua's child). Eventually, however, she conceived and gave birth to a beautiful daughter, and her detractors came around to adopting the same measures to cure barrenness. "Akuaba" is now widely used by Akan-speakers not only for the well-known small figures but for all types of sculpture. Properly, though, it should probably be confined to those figures consecrated by priests who invoke the influence of their deity to induce pregnancy. A vehicle of spiritual power, the figure is carried by a woman for a stated period of time. In many cases, hopeful women adorn these figures with beaded hairstyles, waist beads, and earrings; they even suckle them and put them to sleep as they would a real child. “- Doran Ross. Ex collection of Michael von Schenck (1931), Basel. 1980-1983 Swiss Ambassador in Ghana. Ex-Swiss private collection, Ticino
Asante fertility doll, "akuaba”, Ghana. Wood, glass beads. H 23.5cm. Ex Madeleine and Jean-Jacques Keller, Rheinfelden, Switzerland. Hammer Auctions, Basel, Switzerland. Christian Zingg (1956-2023), La Chaux-de-Fonds, Switzerland.
Akan figure. Côte d’Ivoire. This figure reminds me of my first experience in Côte d’Ivoire. I was eating dinner with an Agni villager close to the border of Ghana near Bondoukou. She stated that she didn’t go out at night because there were sorcerers in flying ships that abducted villagers from the trails. With that description, I immediately related it to the UFO experiencer phenomena. This little Akan figure definitely shares the resemblance so the memory and story lives on. Ex Estate of Madeleine and Jean-Jacques Keller (Abidjan until 1980, then Rheinfelden).
Figurative Slingshot, "potomowaka" Akan, Ghana / Côte d’Ivoire, Wood. H 17.5 cm. Estate of Madeleine and Jean-Jacques Keller (Abidjan until 1980, then Rheinfelden).
Fanta figure, Ghana. Wood. H 32cm. W 7cm. Standing female figures are common in West Africa and their symbolism and tasks are interpreted in many ways. In the matrilineal society of the Akan, self-confidence, grace, composure, dignity, stability, poise and many other qualities are among the qualities that should distinguish a woman. In addition to that, the woman stands upright on the ground with which she is deeply rooted. Closely linked to the central theme of motherhood are nutrition, the family and the survival of the clan or the state. In this context, the present sculpture was probably ritually worshiped and sacrificed in a shrine.
An Akan female figure, standing on a round base, wearing sandals. Ghana. H 11.5 inches. EX Bonhams, Ex private collection Long Island, New York
Baule male figure, "waka sran" ("blolo-bian"), Côte d'Ivoire. Wood, textile, glass beads, pigment. H 15.5”. Ex Galerie La Reine Margot, Paris, France, Ex Paul Gnaegi, La Chaux-de-Fonds (1962), Ex Georges-Jacques Haefeli (1934-2010), La Chaux-de-Fonds (1984). Christian Zingg (1956-2023), La Chaux-de-Fonds, Switzerland (2020), Ex Hammer Auktionen 119, Switzerland.
