Lobi bateba figure, from Pessare Dah Wood with deep honey-brown ritual patina Attributed to the sculptor Pessare Dah Loroponi region, Burkina Faso Mid 20th century, circa 1940–1965 Private Collection Incl stand. This finely carved standing bateba figure belongs to the sculptural tradition of the Lobi peoples of south-western Burkina Faso. Created as the embodiment of a thil, an invisible spiritual force, such figures were commissioned through the guidance of a diviner (thildar) and installed within domestic shrines to protect the household, ensure fertility and prosperity, and mediate between the human and supernatural worlds. Their significance lies not in portraiture but in their spiritual efficacy, which was reinforced through ritual offerings and continuous interaction with the family. The sculpture is attributed to the renowned master carver Pessare Dah of the Loroponi region, whose works are distinguished by their powerful simplicity and harmonious proportions. His figures typically display broad, gently swelling volumes, restrained anatomical modelling and an exceptional sense of balance. The present example is characteristic of his mature style: the prominent rounded abdomen, elongated cylindrical neck, broad shoulders and calm, heavy-lidded face create a monumental presence despite the figure's relatively modest scale. The high domed coiffure further emphasizes the verticality that distinguishes the Loroponi workshops. Among the regional traditions of Lobi sculpture, the Loroponi style occupies a particularly important position. Sculptors from this area favoured balanced geometric forms and quiet monumentality over expressive movement. Compared with neighbouring workshops, Loroponi figures tend to possess fuller torsos, more compact proportions and exceptionally refined facial modelling. The restrained posture, with the arms hanging close to the body and the firmly planted feet, conveys stability and spiritual permanence, qualities that were essential for figures intended to serve as enduring ritual guardians. The warm brown patina, softened surfaces and traces of prolonged handling testify to sustained ritual use within a shrine environment. The elegant equilibrium of volumes, subtle modelling and quiet authority characteristic of Pessare Dah's sculpture make this figure an outstanding example of the Loroponi carving tradition and one of the most refined expressions of Lobi ritual art. Pessare Dah, 1949 - 1995 (last photo sequence) Pessare Dah was a Lobi sculptor from Burkina Faso whose legacy has only recently been recognized and studied in detail. Born in 1949 in the village of Gongonbili, he spent most of his working life in Tankoura near Loropeni. Although his name was unknown to the art world for many years, his distinct sculptural style gained scholarly attention following research efforts that began around 2010. Dah is now considered one of the few Lobi artists whose work can be clearly attributed by name, joining the ranks of other notable carvers such as Sikire Kambire. Dah’s early work was deeply influenced by Sikire Kambire, an earlier master sculptor whose death in 1963 marked the end of an era in Lobi art. Sikire’s figures, often characterized by hollowed or burned-out eyes and deep facial grooves, served as a model for Dah’s initial carvings. These formal similarities were noted in both the carving techniques and the visual language that defined the figures’ emotional intensity. Over time, however, Dah’s work evolved into something more individualistic. Scholars such as Wolfgang Jaenicke have identified three stylistic phases in Dah’s career, moving from direct imitation to a middle phase of experimentation, and ultimately to a late period marked by greater formal freedom and expressiveness (Jaenicke, 2020). Pessare Dah’s sculptures were primarily made of Sankolo wood, a dense and enduring material that contributed to the statues’ gravity and physical presence. Among his best-known works are representations of male and female ancestral couples, which play a central role in Lobi religious and social life. These figures were typically used in ritual contexts to mediate between the human and spiritual worlds. However, there is also evidence that Dah created works for commercial sale. Some of his later pieces, including small four-legged stools and less ritually specific figures, seem to have been designed with Western collectors in mind (Howlett, Nocetti & Keller, 2014). This dual role—as a ritual artist and a craftsman engaging with a growing global market—positions Dah as a transitional figure in Lobi art. His works occupy a space between tradition and innovation, between local spiritual meaning and external aesthetic demand. Though he passed away in 1995, Dah’s work continues to be reassessed by scholars, collectors, and curators. The relatively recent identification of his style and authorship has not only deepened our understanding of Lobi sculpture but also raised questions about the broader dynamics of authorship, authenticity, and cultural exchange in African art. Sources – Wolfgang Jaenicke, “Pessara Dah: Ein Lobi-Künstler wird wiederentdeckt,” wolfgang-jaenicke blogspot 2020. – Paul Howlett, William Nocetti, Thomas Keller, “Statuary in Context: Understanding Pessare Dah,” statuary-in-context blogspot , 2014. – Jaenicke, Wolfgang. The Forgotten Masters: Lobi Artists of Burkina Faso, Jaenicke Njoya Publications, 2022. Selected Literature Meyer, Piet & Verrips, Jojada. Lobi: West African Sculptures from Burkina Faso. Munich, 2001. Père, Madeleine. Lobi Statuary. Milan, 2002. Roy, Christopher D. Land of the Flying Masks: Art and Culture in Burkina Faso. Munich, 2007. Fischer, Eberhard & Homberger, Lorenz. Afrikanische Meisterwerke. Munich, 1985. Selected Regional References Meyer, Piet & Verrips, Jojada. Discussion of the Loroponi sculptural tradition and the work of individual Lobi master sculptors, including Pessare Dah. Roy, Christopher D. Comparative analysis of regional Lobi carving styles, shrine figures and the artistic traditions of the Loroponi region. Inv. No. M/A/Z//1//7//9//45 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. 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