一件青铜雕塑 - Olokun - Ife - 尼日利亞 (沒有保留價)

08
04
小時
31
分鐘
32
目前出價
€ 5
沒有保留價
Dimitri André
專家
由Dimitri André精選

擁有非洲研究碩士學位及非洲藝術15年工作經驗。

估價  € 1,800 - € 2,200
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尼日利亞伊菲風格青銅頭像,標題為《A bronze sculpture》,採用失蠟法鑄造,原作/官方,狀況良好,高度42公分,重量4.7公斤,含支架。

AI輔助摘要

賣家描述

Probably a head of Olokun in the style of Ife, Nigeria, But there are different opinions about this bronze head. Another opinion, based on oral tradition, assumes that this is the portrait of a Queen of the Ooni.

Life sized and cast using a lost wax technique. A crown like headdress with a circular crest, and a tubular band that runs across the head ornamented with small studs running horizontally on the top and the bottom of the band. The face with a delicate features: almond shaped eyes, small nose and full lips, with refined overall patterns. The neck is ringed which is a sign of beauty across many Ife and Benin heads. The holes in the neck were used to attach it to a wooden marionette, as described and shown by Frank Willett, Ife, pages Signs of oxidation, the neck is partly fragmentary, Certificate of origin and provenance, incl. wooden stand.

“According to the oral traditions of the Yoruba people, Ife is the place where life and civilisation began. Ife is regarded as the legendary homeland of theYoruba-speaking peoples and its sacred ruler, the Ooni, is still revered as the descendant of the original creator gods. Ife is located in Osun State in modern south-western Nigeria.

"Ife began to develop as a city-state in the late first millennium, around AD 800 and became a leading political, economic and spiritual centre in the lower Niger region. Between 1100 and 1400 it floursihed as a commercial centre with access to the lucrative trade networks along the Niger River.

The art of Ife has produced a large corpus of sculptural works in terracotta, stone, brass and copper which were found at different sites in the city. Among these artworks the representations of humans are striking for their naturalistic style. This life-like modelling is unique in Africa and when objects from Ife were first presented to the western world they were compared with the classical traditions of Ancient Greece and Rome. It was even suggested that such heads were evidence that Ife was the site of the lost civilization of Atlantis. In fact the sculpture of Ife is today rightly seen as one of the highest achievements of African art and culture.” Source: British Museum

Lit:
E. Platte, 2010, Head of a Ruler, London, British Museum Company
E. Eyo and F. Willett, 1980, Treasures of Ancient Nigeria, London, Royal Academy of Arts.
J. W. Langton, O. Akin Ige & T. Rehren "Early Primary Glass Production in Southern Nigeria" in Journal of African Archaeology, Vol. 4 (1), 2006

The Ife head of a queen refers to a sculpture from the ancient kingdom of Ife, one of the most significant cultural and artistic centers in pre-colonial West Africa. Ife, located in present-day southwestern Nigeria, was renowned for its advanced artistic traditions, particularly in the realms of metalworking, terracotta, and bronze casting.
The Ife heads, especially those depicting royalty and important figures, are some of the most iconic artifacts associated with the civilization. These sculptures often represent kings (Ooni), queens, and other high-ranking individuals, and they are noted for their intricate detail and naturalistic qualities, which set them apart from many other African art traditions.
An "Ife head of a queen" would likely be a highly detailed sculpture made from materials such as terracotta, brass, or bronze, featuring features like:


Head of an Ooni in the style of Ife, exhibited 2018 Wolfgang Jaenicke Gallery
photo: for more information, please write us an e-mail with the identification number of the photo identification no. D*S*C*0*7*7*7*6 *(Second to last photo sequence)


1. Realistic facial features: The Ife heads are known for their lifelike depictions of human faces, showing an extraordinary level of skill and an understanding of human anatomy.
2. Complex hairstyles and adornments: Queens and other women depicted in Ife art are often shown with elaborate hairstyles, crowns, or jewelry, reflecting their status and beauty.
3. Symbolism of power: The queens represented in Ife art are likely symbols of divine authority or noble status, with their heads serving as representations of leadership and reverence within the community.
These heads are generally believed to represent royal figures from Ife's classical period, roughly from the 12th to 15th centuries. They were likely used for ceremonial or religious purposes, possibly associated with ancestral worship or the honoring of deities. Some of the most famous Ife heads have been unearthed from archaeological sites in the region, revealing a complex and highly developed culture.
One of the most famous examples of Ife sculpture is the "Ife Queen Head," which stands as a testament to the artistry and cultural significance of the Ife people.

Ife-, Benin Exhibition 2018, WJ Gallery, Berlin (last photo sequence).

Height: 34 cm without stand

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.

Without thermoluminescence tests, the attribution is provided for reference only, based on our knowledge. The piece remains subject to authentication

賣家的故事

沃尔夫冈·雅尼克的对非洲艺术的参与并非在田野调查或市场交易中开始,而是在一个更安静、内在的空间里——在他父亲留下的文件、书籍与物件之间。关于德国前殖民地的档案并非按照单一故事来编排;它暗示着多种可能。它更鼓励审视,而非崇敬,并早早教会雅尼克:物件从来不是沉默的。它们内部包藏时间——以同一种形式承载断裂与连续——并且请人像解读文本一样去读它们。 在二十多年里,雅尼克一直以收藏家、经销商与中介的身份工作,尽管这些称谓都未能真正捕捉到他实践的形态。那些曾经被随意地归在“部落艺术”范畴下的事物,在他看来从来不是一个封闭的、历史性的类别。它反而是一套活着的传统,不断在当下进行协商。他的学术训练——民族学、艺术史、比较法——提供了一种语法。语言本身则是在别处学到的。在马里、喀麦隆、科特迪瓦、布基纳法索、多哥和加纳,知识是通过反复接触逐步显现,这些接触逐渐发展为关系,并通过信任在多年里逐步建立。 马里成为这一经历的引力中心。2002年至2012年间,雅尼克在巴马科和塞古生活与工作,经营Tribalartforum——一间俯瞰尼日尔河的画廊。这个空间抗拒简单的年代顺序。雕塑与陶器与摄影作品共同占据同一个房间,马利克·西迪贝的作品——70年代马里青年自信而狂放的形象——与更古老的仪式形式并列悬挂。其效果并非让人怀旧,而是使人澄清:过去与现在并非彼此排斥,而是彼此锋利。 2012年的战争突然终结了这一篇章,像战争常有的那样。但它并未消解这项工作。与阿吉博·卡马特一起,雅尼克在洛美重新集结,地点更靠近许多物件的来源地以及它们仍在穿越的路线。自2018年起,柏林成为这张地图上的另一个点。Wolfgang Jaenicke画廊现对着夏洛滕堡宫对面,由一支专业团队支援。画廊特别聚焦西非青铜器与陶土器、材料由土壤与火、以及抗拒轻易翻译的记忆形式所塑成的物件。 雅尼克的实践之所以独特,不仅在于它的地理范围,更在于其内部的张力。现场考察与出处研究并行;商业活动被视为与责任密不可分。画廊与博物馆、学术机构合作,将流通框定为一种道德过程,始终未完结。目标并非将物件从世界中移除并封存,而是让它们在世界中保持可解读的状态——允许它们继续发声,即使发声的条件在变化。 ------------ Galerie Wolfgang Jaenicke是一家位于柏林的画廊,专注于西非雕塑、青铜器、陶土器、面具与当代非洲艺术。由沃尔夫冈·雅尼克掌舵,他的工作融合收藏、经销、出处研究、田野工作与档案文献整理。 据画廊自述,雅尼克 studied ethnology、art history 与 comparative law,在非洲艺术领域工作超过二十五年。他的活动在马里、喀麦隆、科特迪瓦、布基纳法索、加纳和多哥等国的长期参与中发展起来。他并不把非洲艺术呈现为一个封闭的历史范畴,而是描述为被生活共同体与不断变化的历史情境共同塑造的持续文化传统。 他职业生涯一个特别重要的阶段在马里,约在2002年至2012年之间,在巴马科与塞古生活与工作,经营Tribalartforum——一个将历史非洲雕塑与当代非洲摄影结合的画廊,其中也包含马利克·西迪贝的作品。2012年的马里政治与军事危机导致这一阶段的活动结束。 后来,与阿吉博·卡马特一起,雅尼克继续在洛美工作,随后在柏林靠近夏洛滕堡宫建立画廊。画廊格外强调西非青铜器、陶土器、与本恩(Benin)及伊夫(Ife)相关的作品、诺克(Nok)雕塑、洞贡(Dogon)艺术、鲍勒(Baule)雕塑、塞努福(Senufo)物件及约鲁巴(Yoruba)材料。 雅尼克公开立场的一大鲜明特点,是他反复强调出处透明与归还辩论。在多份公开的物件记录中,画廊明确讨论出口文件、联合国教科文组织公约、所有权历史以及与学者和归还研究者的沟通等问题。这些表述反映了当代关于非洲文化遗产流通、合法性、收藏史及博物馆收购实践的更广泛讨论。 画廊维护着庞大的在线档案与目录,记录着数百件非洲物件,包括本安与伊夫青铜器、诺克陶土、洞贡雕塑、鲍勒人像、冯(Fon)物件、莫巴(Moba)人像,以及其他西非材料。 对于研究非洲艺术贸易历史的学者而言,雅尼克代表了比约翰·J·克莱曼等人群体的后期一代经销商。克莱曼属于二战后1950s–1970s的纽约市场,而雅尼克的工作则受到当代对田野记录、出处研究、归还讨论、数字档案以及直接与西非网络与艺术家互动等关注所塑造。 本文本基于AI信息
由Google翻譯翻譯

Probably a head of Olokun in the style of Ife, Nigeria, But there are different opinions about this bronze head. Another opinion, based on oral tradition, assumes that this is the portrait of a Queen of the Ooni.

Life sized and cast using a lost wax technique. A crown like headdress with a circular crest, and a tubular band that runs across the head ornamented with small studs running horizontally on the top and the bottom of the band. The face with a delicate features: almond shaped eyes, small nose and full lips, with refined overall patterns. The neck is ringed which is a sign of beauty across many Ife and Benin heads. The holes in the neck were used to attach it to a wooden marionette, as described and shown by Frank Willett, Ife, pages Signs of oxidation, the neck is partly fragmentary, Certificate of origin and provenance, incl. wooden stand.

“According to the oral traditions of the Yoruba people, Ife is the place where life and civilisation began. Ife is regarded as the legendary homeland of theYoruba-speaking peoples and its sacred ruler, the Ooni, is still revered as the descendant of the original creator gods. Ife is located in Osun State in modern south-western Nigeria.

"Ife began to develop as a city-state in the late first millennium, around AD 800 and became a leading political, economic and spiritual centre in the lower Niger region. Between 1100 and 1400 it floursihed as a commercial centre with access to the lucrative trade networks along the Niger River.

The art of Ife has produced a large corpus of sculptural works in terracotta, stone, brass and copper which were found at different sites in the city. Among these artworks the representations of humans are striking for their naturalistic style. This life-like modelling is unique in Africa and when objects from Ife were first presented to the western world they were compared with the classical traditions of Ancient Greece and Rome. It was even suggested that such heads were evidence that Ife was the site of the lost civilization of Atlantis. In fact the sculpture of Ife is today rightly seen as one of the highest achievements of African art and culture.” Source: British Museum

Lit:
E. Platte, 2010, Head of a Ruler, London, British Museum Company
E. Eyo and F. Willett, 1980, Treasures of Ancient Nigeria, London, Royal Academy of Arts.
J. W. Langton, O. Akin Ige & T. Rehren "Early Primary Glass Production in Southern Nigeria" in Journal of African Archaeology, Vol. 4 (1), 2006

The Ife head of a queen refers to a sculpture from the ancient kingdom of Ife, one of the most significant cultural and artistic centers in pre-colonial West Africa. Ife, located in present-day southwestern Nigeria, was renowned for its advanced artistic traditions, particularly in the realms of metalworking, terracotta, and bronze casting.
The Ife heads, especially those depicting royalty and important figures, are some of the most iconic artifacts associated with the civilization. These sculptures often represent kings (Ooni), queens, and other high-ranking individuals, and they are noted for their intricate detail and naturalistic qualities, which set them apart from many other African art traditions.
An "Ife head of a queen" would likely be a highly detailed sculpture made from materials such as terracotta, brass, or bronze, featuring features like:


Head of an Ooni in the style of Ife, exhibited 2018 Wolfgang Jaenicke Gallery
photo: for more information, please write us an e-mail with the identification number of the photo identification no. D*S*C*0*7*7*7*6 *(Second to last photo sequence)


1. Realistic facial features: The Ife heads are known for their lifelike depictions of human faces, showing an extraordinary level of skill and an understanding of human anatomy.
2. Complex hairstyles and adornments: Queens and other women depicted in Ife art are often shown with elaborate hairstyles, crowns, or jewelry, reflecting their status and beauty.
3. Symbolism of power: The queens represented in Ife art are likely symbols of divine authority or noble status, with their heads serving as representations of leadership and reverence within the community.
These heads are generally believed to represent royal figures from Ife's classical period, roughly from the 12th to 15th centuries. They were likely used for ceremonial or religious purposes, possibly associated with ancestral worship or the honoring of deities. Some of the most famous Ife heads have been unearthed from archaeological sites in the region, revealing a complex and highly developed culture.
One of the most famous examples of Ife sculpture is the "Ife Queen Head," which stands as a testament to the artistry and cultural significance of the Ife people.

Ife-, Benin Exhibition 2018, WJ Gallery, Berlin (last photo sequence).

Height: 34 cm without stand

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.

Without thermoluminescence tests, the attribution is provided for reference only, based on our knowledge. The piece remains subject to authentication

賣家的故事

沃尔夫冈·雅尼克的对非洲艺术的参与并非在田野调查或市场交易中开始,而是在一个更安静、内在的空间里——在他父亲留下的文件、书籍与物件之间。关于德国前殖民地的档案并非按照单一故事来编排;它暗示着多种可能。它更鼓励审视,而非崇敬,并早早教会雅尼克:物件从来不是沉默的。它们内部包藏时间——以同一种形式承载断裂与连续——并且请人像解读文本一样去读它们。 在二十多年里,雅尼克一直以收藏家、经销商与中介的身份工作,尽管这些称谓都未能真正捕捉到他实践的形态。那些曾经被随意地归在“部落艺术”范畴下的事物,在他看来从来不是一个封闭的、历史性的类别。它反而是一套活着的传统,不断在当下进行协商。他的学术训练——民族学、艺术史、比较法——提供了一种语法。语言本身则是在别处学到的。在马里、喀麦隆、科特迪瓦、布基纳法索、多哥和加纳,知识是通过反复接触逐步显现,这些接触逐渐发展为关系,并通过信任在多年里逐步建立。 马里成为这一经历的引力中心。2002年至2012年间,雅尼克在巴马科和塞古生活与工作,经营Tribalartforum——一间俯瞰尼日尔河的画廊。这个空间抗拒简单的年代顺序。雕塑与陶器与摄影作品共同占据同一个房间,马利克·西迪贝的作品——70年代马里青年自信而狂放的形象——与更古老的仪式形式并列悬挂。其效果并非让人怀旧,而是使人澄清:过去与现在并非彼此排斥,而是彼此锋利。 2012年的战争突然终结了这一篇章,像战争常有的那样。但它并未消解这项工作。与阿吉博·卡马特一起,雅尼克在洛美重新集结,地点更靠近许多物件的来源地以及它们仍在穿越的路线。自2018年起,柏林成为这张地图上的另一个点。Wolfgang Jaenicke画廊现对着夏洛滕堡宫对面,由一支专业团队支援。画廊特别聚焦西非青铜器与陶土器、材料由土壤与火、以及抗拒轻易翻译的记忆形式所塑成的物件。 雅尼克的实践之所以独特,不仅在于它的地理范围,更在于其内部的张力。现场考察与出处研究并行;商业活动被视为与责任密不可分。画廊与博物馆、学术机构合作,将流通框定为一种道德过程,始终未完结。目标并非将物件从世界中移除并封存,而是让它们在世界中保持可解读的状态——允许它们继续发声,即使发声的条件在变化。 ------------ Galerie Wolfgang Jaenicke是一家位于柏林的画廊,专注于西非雕塑、青铜器、陶土器、面具与当代非洲艺术。由沃尔夫冈·雅尼克掌舵,他的工作融合收藏、经销、出处研究、田野工作与档案文献整理。 据画廊自述,雅尼克 studied ethnology、art history 与 comparative law,在非洲艺术领域工作超过二十五年。他的活动在马里、喀麦隆、科特迪瓦、布基纳法索、加纳和多哥等国的长期参与中发展起来。他并不把非洲艺术呈现为一个封闭的历史范畴,而是描述为被生活共同体与不断变化的历史情境共同塑造的持续文化传统。 他职业生涯一个特别重要的阶段在马里,约在2002年至2012年之间,在巴马科与塞古生活与工作,经营Tribalartforum——一个将历史非洲雕塑与当代非洲摄影结合的画廊,其中也包含马利克·西迪贝的作品。2012年的马里政治与军事危机导致这一阶段的活动结束。 后来,与阿吉博·卡马特一起,雅尼克继续在洛美工作,随后在柏林靠近夏洛滕堡宫建立画廊。画廊格外强调西非青铜器、陶土器、与本恩(Benin)及伊夫(Ife)相关的作品、诺克(Nok)雕塑、洞贡(Dogon)艺术、鲍勒(Baule)雕塑、塞努福(Senufo)物件及约鲁巴(Yoruba)材料。 雅尼克公开立场的一大鲜明特点,是他反复强调出处透明与归还辩论。在多份公开的物件记录中,画廊明确讨论出口文件、联合国教科文组织公约、所有权历史以及与学者和归还研究者的沟通等问题。这些表述反映了当代关于非洲文化遗产流通、合法性、收藏史及博物馆收购实践的更广泛讨论。 画廊维护着庞大的在线档案与目录,记录着数百件非洲物件,包括本安与伊夫青铜器、诺克陶土、洞贡雕塑、鲍勒人像、冯(Fon)物件、莫巴(Moba)人像,以及其他西非材料。 对于研究非洲艺术贸易历史的学者而言,雅尼克代表了比约翰·J·克莱曼等人群体的后期一代经销商。克莱曼属于二战后1950s–1970s的纽约市场,而雅尼克的工作则受到当代对田野记录、出处研究、归还讨论、数字档案以及直接与西非网络与艺术家互动等关注所塑造。 本文本基于AI信息
由Google翻譯翻譯

詳細資料

土著物品名稱
Olokun
族裔/文化
Ife
原產國
尼日利亞
物料
青銅色
Sold with stand
狀況
狀況一般
藝術品標題
A bronze sculpture
Height
42 cm
重量
4,7 kg
真偽
原創/正版
德國已驗證
6418
已售物品
99,45%
protop

Rechtliche Informationen des Verkäufers

Unternehmen:
Jaenicke Njoya GmbH
Repräsentant:
Wolfgang Jaenicke
Adresse:
Jaenicke Njoya GmbH
Klausenerplatz 7
14059 Berlin
GERMANY
Telefonnummer:
+493033951033
Email:
w.jaenicke@jaenicke-njoya.com
USt-IdNr.:
DE241193499

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