A Baule weaving spool sculpture, Toumodi region, Ivory Coast. Incl stand. This sculpture is an anthropomorphic loom pulley bracket carved by the Baoulé people, serving as a utilitarian work of art designed to facilitate the back-and-forth movement of the ritual heddles. The top of the object is crowned by a flared circular structure resembling a small vase or a ritual oil lamp holder. Beneath this element rises a long, stylized oval face, displaying an expression of introspection and meditative calm. The arched eyebrows meet at the base of a long, slender, straight nose. The almond-shaped eyes are half-closed, accentuated by heavy eyelids, while a small braided or beaded beard extends vertically from the chin. The body and abdomen: in a rare and sophisticated feature for a pulley, the head does not rest directly on the yoke but is supported by a complete, stylized male anthropomorphic body. The slender arms extend down the torso and bend at a right angle toward the front, with the hands clasping the lower abdomen just below a rectangular abdominal plate carved with grid-like patterns (incisions). The figure’s short legs rest on a stool or a raised rectangular structure. The lower part of the sculpture forms a hollowed-out inverted “U”-shaped (or portico-shaped) stirrup, designed to house the iron axle and the movable wooden roller or spool on which the loom’s cord slides. The monoxyl work features a mottled dark brown patina, polished in places by continuous use and the oily friction of the weaver’s hands. Reference selection: The collection sheet from the Metropolitan Museum of Art (Met Museum) describes the fundamental mechanical role of heddle pulleys in traditional Baoulé weaving and the importance of their aestheticization. The Metropolitan Museum of Art’s thematic analysis (Inv. 314291) focusing on figurative pulleys incorporating carved heads or entire bodies for the weaver’s exclusive visual pleasure. The comparative study from the African Art Gallery (Ref. 12692), which details the anatomy of the heddle pulley bracket, the treatment of geometric scarifications, and the fact that weaving in Côte d’Ivoire remains an exclusively male activity. The archive entry on the arts of Côte d’Ivoire from Sothe by’s Auction (Lot ad9213da), which explores the variety of sculpted forms (zoomorphic and anthropomorphic) and the patina characteristic of weaving objects accumulated in 20th-century collections. Rand African Art’s thematic monograph on Baoulé pulleys, demonstrating how the decorative ostentation of the pulley allowed the sculptor to showcase his artistic talents to the community in order to attract new commissions for statues or masks. Some of the information is generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history. Informant Bakari M*A*Z*1*6*2*7*2* The seller guarantees and can prove that the object was obtained legally. The seller was informed by Catawiki that they had to provide the documentation required by the laws and regulations in their country of residence. The seller guarantees and is entitled to sell/export this object. The seller will provide all provenance information known about the object to the buyer. The seller ensures that any necessary permits are/will be arranged. The seller will inform the buyer immediately about any delays in obtaining such permits.