A Baule statue, Beomi region, Ivory Coast. This wooden figurine of a woman standing on a round base has a slender body, with her legs slightly bent, a rounded belly, and her hands resting on either side of her lower abdomen. Her face is serene, with half-closed eyes, a short nose, and full lips. Her hairstyle, tall and pointed, is covered with fine engraved lines. Numerous scarifications are visible on the forehead, cheeks, neck, chest, abdomen, and back. A cord wraps around the neck and holds a cowrie shell; another cord is tied around the waist. The surface of the wood has a dark, gray, and brown patina, with signs of wear and deposits. The Baoulé art of the Béoumi region, the neat hairstyle, the regular scarifications, and the reserved expression may evoke beauty, dignity, and self-control. The hands placed near the abdomen, the feminine forms, and the cowrie shell may symbolize fertility, wealth, or protection. This figure may have been associated with an ancestor, a spirit, or a spouse from the invisible world, sometimes referred to as blolo bla. “To articulate historians, the most consistent features of Baule art is a kind of peaceful containment. Faces tend to have downcast eyes and figures most often hold their ams against the body. […] Among their abundant art forms, the Baule people continue to place the greatest value on masks and figure sculptures, which remain the only sculptural art still widely used in Baule villages. While there is a difference between the Baule view of their objects and that of Western connoisseurs, there are points of agreement. Aesthetic appreciation is one: Baule artist, and individual owners of objects, certainly sometimes enjoy the beauty of these objects and the skill it took coproduce them. […] Lit: Baule: African Art, Western Eyes. Susan M.Vogel 1997. “Baule female figures, often referred to as blolo bla (spirit spouse), serve as powerful ritual objects within the community. They are typically created to embody the spiritual presence of a deceased individual or a spiritual being, with the intention of mediating between the human and supernatural realms. These figures, whether carved for personal or community use, are not merely aesthetic objects; they are believed to possess agency, invoking the spiritual force of the person or spirit they represent. A male figure called blolo bian often complements the female, and together, they represent the union of cosmic opposites. These figures are placed in shrines and are integral to the practice of divination and spiritual healing, often consulted by the diviner in sessions where they are seen as holding the power to channel ancestral wisdom." Soucre: William Fagg, Art and Life in Africa (1964) “For the Baule, a figure is never merely an image, it is always the manifestation of a spiritual presence, whether that presence is an ancestor, a deity, or an unseen force. This is why the figures are often considered to have their own vitality. When carved, they are brought into being through the carver's vision, which is itself informed by the wishes of the spirit who is to inhabit the object. The figure itself is an instrument through which the spirit communicates with the world of the living. Whether it is a male or female figure, the choice of the figure’s posture, expression, and ornamentation is integral to its power. For instance, the serene expression of the female figure is not simply a depiction of femininity; it is an embodiment of tranquility, wisdom, and protection, which the Baule consider essential attributes for a spirit spouse. The Baule create these figures as part of an ongoing relationship between the human and spiritual worlds. They are not intended to be seen as static art objects; they are interactive, living parts of a ritual world. In a sense, these figures challenge the notion of ‘art for art’s sake.’ They are functional, embedded within daily life and used in healing, divination, and rituals that have specific goals—whether for protection, fertility, or spiritual communication. As the Baule view it, the figure serves as a mirror, reflecting both the spiritual world and the social ideals of the community, showing us not just what is, but also what could be: a perfected world of harmony, power, and balance.” — Susan Vogel, Baule: African Art, Western Eyes (1997) "The Baule are originally part of a breakaway group of the Akan people from Ghana. In the 17th century, Queen Abla Pokou led a group on an exodus away from the main Ashanti Confederacy after a war broke out due to disagreements among the factions. Pokou realized that she and her followers may be in harms way, so she took her people and headed westward. Legend says the group came upon the Comoé River, with its dangerous waters and needed a way to safely cross. With the enemy gaining on them, Queen Pokou asked a diviner for advice. The diviner, after much thought, told her the gods required a sacrifice. Everyone began throwing their most prized possessions into the river; gold, ivory, cattle, everything they owned, hoping to appease the gods. The diviner shook his head and said that our sons are our most prized possessions. Pokou, knowing that her duty as queen was more important than that of a mother, decided then to sacrifice her only son, throwing him into the water and calling out “Ba ouli”, translated to “the child is dead”, giving them the name Baule. After the sacrifice was made, hippopotamuses came up from the river and formed a bridge allowing the queen and her people to cross." "Differing from most cultures, the Baule are a matriarchal society. Not only are genetic lineages traced by the mother’s blood line, but they refrain from participating in secret societies and initiations that usually forbid women. They believe women’s rights are sacred and are for the most part, given the same opportunities as men. They do however, have some objects such as special men’s masks or anthropomorphic monkeys that women are forbidden to see due to fear of harm or death." Lit.: Alain-Michel Boye/Patrick Girard/Marceau Rivière: Arts Premiers de Côte d´Ívoire, Sepia 1997, p. 83-84. Susan M. Vogel: Baule: African Art Western Eye, 1997, p. 169 (169-187); Bernard de Grunne: Über den Baule-Stil und seine Meister. In: Eberhard Fischer/Lorenz Homberger: Afrikanische Meister. Kunst der Elfenbeinküste, Zurüch 2014, p. 81-106; Alain-Michel Boyer: Baule. Visions of Africa, Milan 2008. 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 Inv. No. M/A///Z1///85///77 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.