This pair of Baule figures from the Mbahiakro region powerfully embodies the ideal of complementary gender roles and the central importance of partnership within Baule society in central Côte d'Ivoire. The two closely linked figures embrace one another in a calm, balanced gesture, conveying not so much individual portraiture as a symbol of social and spiritual harmony. Such depictions of pairs are closely linked to Baule aesthetic ideals (*blolo*) and - depending on the context - can refer to concepts of idealized marriage, ancestral connection, or spiritual companions. The female figure wears a crest-like hairstyle that rises at an angle and transitions into a braided plait at the nape of the neck, while the male figure is characterized by a high, Mohawk-style coiffure with braided sections at the sides and a goatee. Both gaze attentively forward; their slightly pursed, closed lips lend their faces an air of contemplative serenity. Fine scarification patterns on the forehead, temples, chest, abdomen, and back emphasize beauty, social identity, and cultivated bodily adornment. Armbands decorate the outer upper arms, while the inner arms embrace the partner's shoulders and the outer hands rest upon the abdomen. The female figure’s pointedly modeled breasts signify fertility and womanhood. Both figures stand on a shared, flat base, further emphasizing their inseparable unity. The deep, lustrous patina, fine cracks, and subtle signs of wear bear witness to years of ritual handling, lending the sculpture the material presence characteristic of authentically used Baule works. Mbahiakro is located in the eastern heartland of the Baule region. The sculpture of this region is characterized by balanced proportions, finely detailed hairstyles, nuanced scarification patterns, and a calm, introspective body language. Pair figures are among the most significant forms of expression in Baule art, representing both social ideals and the connection between the visible and spiritual worlds. Selected Bibliography Vogel, Susan Mullin (Ed.): Baule: African Art – Western Eyes. Yale University Press, New Haven, 1997. Fischer, Eberhard & Homberger, Lorenz: Die Kunst der Baule. Museum Rietberg, Zurich, 1985. Himmelheber, Hans: Negerkunst und Negerkünstler. Braunschweig, 1960. Cole, Herbert M. & Ross, Doran H.: The Arts of Ghana. University of California, Los Angeles, 1977. Glaze, Anita J.: Art and Death in a Senufo Village. Indiana University Press, Bloomington, 1981 (regarding the regional artistic context of northern Côte d'Ivoire). Informant Bakari Bouaflé M/A/Z/1/7/4/2/2/ 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.