A Baule statue, Beomi region, Ivory Coast. This anthropomorphic wooden sculpture depicts a classical female figure from the Baule (Baoulé) culture. It embodies the ideal of beauty and balance characteristic of this tradition, most likely representing a Blolo Bla (mystical wife of the afterlife) or a figure associated with a divination altar. Her overall posture and proportions convey a solemn and dignified demeanor; the woman is depicted standing, her body aligned in a strict vertical line. Her arms are bent forward so that both hands rest flat directly on her rounded abdomen, emphasizing fertility. Her legs are short, powerful, and slightly bent at the knees. Her calves and thighs are fleshy and well-shaped. She stands on large, flat feet set into a small carved wooden base. Her face is serene and introspective, with an oval-shaped head. The almond-shaped eyes are large, surmounted by heavy eyelids and thin, arched eyebrows carved in relief. The nose is long, straight, and slender, and the mouth features well-defined lips that protrude slightly forward. Her hairstyle is highly elaborate, and the hair is sculpted with great refinement. It is divided into several sections or braids, finely incised with very dense parallel striations that converge at the back of the skull, forming small buns or voluminous lobes on the sides. The head rests on a long, cylindrical neck—a symbol of nobility—which features slight horizontal folds. The sculpture features numerous traditional raised scarifications (keloids) characteristic of Baoulé art. Geometric groups can be seen on the cheeks (at the corners of the mouth) and on the forehead between the eyebrows, as well as numerous motifs arranged symmetrically on the upper chest, back, and shoulders. As a remarkable example of an original adornment, the statuette has retained around its hips an authentic original ritual belt or sash, consisting of a string of beads (or plant elements) holding a small loincloth made of fabric or braided fibers. The wood is dark and weathered; the work is carved from a hard, heavy monoxyl wood. The surface displays a very deep brown and black patina from use. It alternates between smooth, subtly lustrous areas on the frequently handled reliefs (the chest, abdomen, and forehead) and more matte, crusty, and textured areas in the recesses of the hairpiece’s carvings and the scarifications. “Baule sculptures from Côte d'Ivoire are renowned for their refined artistry and profound cultural significance. These works often depict human figures or masks and serve various roles within Baule society, from spiritual intermediaries to embodiments of beauty and moral virtues. A notable example is the Portrait Mask (Mblo) of Moya Yanso, which exemplifies the Baule carving tradition. Such masks are utilized in performances that honor individuals, celebrate beauty, and convey moral values. They are characterized by their serene expressions, intricate detailing, and harmonious proportions, reflecting the Baule aesthetic ideals.” Source: Khan Academy “Additionally, Baule figure sculptures, often referred to as spirit spouses (blolo bla for female figures and blolo bian for male figures), are kept in private spaces and are seldom shown to others. These figures represent idealized partners from the spirit world and are believed to influence one's earthly relationships and well-being.” Source: JSTOR "To the Western eye, an essence of Baule style is a balanced asymmetry that enlivens while suggesting stability and calm. [...] To an art historian, the most consistent feature of Baule art, and one expressed across the wide variety of Baule object types, is a kind of peaceful containment. Faces tend to have downcast eyes and figures often hold their arms against the body, so that Westerners might feel that the mood of much classical Baule art is introspective." Susan Vogel. In comparison from the same workshop the most famous Asie Usu figure, which, in contrast to the Blolo figures, often shows an intensive sacrifice and is much rarer, although stylistically indistinguishable. (Robert Rubin Collection of African Art). Lit.: Baule. African Art, Western Eyes, Susan Vogel (1997: 26 and 28); Pierre Meauzé, L'art nègre: sculpture, Paris 1967, p. 64, no. 1; Margaret Trowell and Hans Nevermann, African and Oceanic Art, New York, 1968, p. 105 John McKesson, "La Collection de Robert Rubin", Arts d'Afrique Noire, no. 71, Autumn 1989, p. 14. References: Vogel, Susan M. Baule: African Art, Western Eyes. Yale University Press, 1997. Kerchache, Jacques, Jean-Louis Paudrat, and Lucien Stephan. Art of Africa: The Three Thousand-Year History. Harry N. Abrams, 1995. Robbins, Warren M., and Nancy Ingram Nooter. African Art in American Collections. Smithsonian Institution Press, 1989. Gottlieb, Alma, and Philip Graham. Parallel Worlds: An Anthropologist and a Writer Encounter Africa. University of Chicago Press, 1993. Zahan, Dominique. The Religion, Spirituality, and Thought of Traditional Africa. University of Chicago Press, 1979. Fagg, William. African Sculpture. Collins, 1965. 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*5*7*4*7* 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. 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