{"title":"Senufo","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eThe Senufo are an ethnic group living in several West African countries, including Mali, Cote d'Ivoire, and Burkina Faso. Senufo art is known for its intricate, abstract designs and the use of a variety of materials, including wood, bronze, and cloth.\u003c\/p\u003e\n\u003cp\u003eOne of the most well-known forms of Senufo art is the wooden sculpture. Senufo sculptures are characterized by their stylized human forms, elongated limbs, and angular features. These sculptures often depict important figures in Senufo society, such as ancestors, hunters, and spirits. The sculptures are typically used in religious ceremonies and are believed to have the power to communicate with the spiritual world.\u003c\/p\u003e\n\u003cp\u003eAnother form of Senufo art is the mask. Senufo masks are often used in masquerades and other ritual ceremonies. They are typically made of wood or other organic materials and are decorated with intricate patterns and symbols. Senufo masks are believed to embody the spirits of ancestors or other powerful beings and are used to communicate with the spiritual world.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOverall, traditional Senufo art is a testament to the rich cultural heritage and artistic traditions of the Senufo people. These art forms are deeply intertwined with the religious and cultural practices of the Senufo and continue to be an important part of their cultural identity today.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","products":[{"product_id":"a-female-senufo-rhytmpounder-called-deble","title":"A female Senufo Rhytmpounder, called Deblé","description":"\u003cp align=\"left\"\u003eA female Senufo Rhytmpounder, called Deblé, of the border district of Ivory Coast and Burkina Faso, extremely heavy hardwood, a sacrfification patina on most parts of the sculpture, the rest showing a blackened, shiny surface.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e2.400 - 3.200,- Euro\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 65 cm\u003c\/p\u003e\n\u003cp align=\"left\"\u003eWeight: 5,8 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038019125487,"sku":"DSC01195","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/DSC01195_451eee76-47eb-437e-ae73-bee6972cd662.jpg?v=1658408480"},{"product_id":"a-high-aged-female-senufo-rhythm-pounder-called-deble","title":"A high aged female Senufo Rhythm Pounder, called \"Deblé","description":"\u003cp\u003eA high-aged female Senufo Rhythm Pounder, called \"Deblé, Ivory Coast, early 20th century, the legs uprising from a cylindrical base, the slender torso with hanging tapering breasts, the elongated arms carved close to the body with abstract hands touching the hips, the large head with an elongated fascial plane, the mouth pointed beneath a slender nose,; extremely hard and heavy wood with a fine touch patina in particular on arms, neck and abdomen, which also verifies its high age of about hundred years; provenance: Mohamed Belo Garba, Korhogo, Ivory Coast, exhibited at Wolfgang Jaenicke Gallery, Berlin, Germany, 01.08.2019.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e\"Senufo artists carved this large wooden \u003cstrong\u003espirit figure,\u003c\/strong\u003e which is known as a deble [day-blay], or \"bush spirit.\" Deble figures can be male or female, and they are used in special rituals that take place at initiations, agricultural ceremonies, and funerals. During a funeral, honoured groups of people stand in rows on sacred ground and, while holding the spirit figures at the elbows, slowly pound them on the earth. The dull sounds invite the souls of deceased ancestors, the \"living dead,\" to participate in the ceremonies. The sounds also purify the earth. This action is only one part of a ritual activity that also includes music and dance.\" Source: Dallas Museum of Arts.\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp align=\"left\"\u003eHeight: 116 cm\u003c\/p\u003e\n\u003cp align=\"left\"\u003eWeight: 8 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038019158255,"sku":"ABC07255","price":4200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/ABC07255_7d018c0b-62ad-4325-bc05-7692fc3f360a.jpg?v=1658410898"},{"product_id":"a-male-rhythm-pounder-called-deble","title":"A male Rhythm Pounder - called Deblé","description":"\u003cp align=\"left\"\u003eA male Rhythm Pounder - called Deblé - Ivory Coast, from the village Diawala, located between Korhogo and Ferkessedougou, about 20 km from the border to Burkina Fas. Once -100 to 200 years ago -the Bobo were the sculptors, which worked for the Senufo because the Senufo appreciated the skilful work of this adjected ethnic group, which were less rich than the Senufo and therefore left certain works to the Bobo. According to the last owner, this sculpture is round about 80 to a hundred years old and was carved from extremely heavy, hard Fatier wood (Senari) called more well-known \"Lenge wood\" (in Bambara), Very fine touch patina on the neck and arms confirm a long-lasting use over several generations.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eCondition report: several age cracks and a missing piece of wood at the backside of the cylindrical base.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eThe most famous sculpture of this type of Rhythm Pounder of the quoted region from the border district between Ivory Coast and Mali is \"the Emil Storrer Deblé from 1952\", which is probably the top of elegance and skill in Senufo Arts and was sold several years ago for a very high price. the extremely shortened legs of this type of Senufo-Pounder - always without feet and directly upraising from their cylindrical bases - is considered the most archaic form of design of these sculptures, which are playing a central function in the funeral ceremonies of the Senufo people.\u003c\/em\u003e\u003cem\u003eGottschalk, 2002, 10ff.\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit.: Till Förster, “Smoothing the Way of the Dead: A Senufo Rhythm Pounder,” Yale University Art Gallery Bulletin (2005): 54ff., ill.; Förster and Homberger, Die Kunst der Senufo aus Schweizer Sammlungen. Catalogue Zürich, Museum Rietberg, 1988, 68ff.; Koloss, Hans-Joachim; Förster, Till, Die Kunst der Senufo, Elfenbeinküste, 1990. Museum für Völkerkunde, Berlin, Abb. 12a+b.; Burkhard Gottschalk Senoufo. Massa und die Statuen des Poro, U. Gottschalk, 2002, 10ff.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e4.800 - 5.600,- Euro\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 109 cm\u003c\/p\u003e\n\u003cp align=\"left\"\u003eWeight: 8,7 kg\u003c\/p\u003e\n\u003cp align=\"left\"\u003e \u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038020075759,"sku":"BSC01346","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BSC01346_63dbd873-a8b5-43a7-9570-a629122d1423.jpg?v=1658408180"},{"product_id":"a-large-male-senufo-sculpture","title":"A large, male Senufo sculpture","description":"\u003cp\u003eA large, male Senufo sculpture, standing on a cylindrical base related to the well-known Rhythm Pounders, \"Deblé\", holding two dancing bells in its hands, on top of a circular shield with an x-shaped cross, pierced through, collected in the Diavala village, between Korhogo and Ferkessedougou, 20 km from the border of Ivory Coast and Burkina Faso, heavy hard \"Lenge\" wood (not a Senari a Djula word), the right arm partly fragmentary, remnants of reddish and blueish pigments.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/deble.arrangement.jpg\" alt=\"Deble arrangement wolfgang jaenicke gallery\" width=\"281\" height=\"391\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ephoto: Deblé and Guardian sculptures during the Senufo exhibition in the Wolfgang Jaenicke Gallery, Berlin, the fourth sculpture from left is the high-aged Guardian sculpture surmounted with a circular panel, a rare example of the Northern Senufo style of the Ivory Coast.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e4.600 - 5.600,- Euro\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 145 cm\u003c\/p\u003e\n\u003cp align=\"left\"\u003eWeight: 9,7 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038020403439,"sku":"BSC02434","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BSC02434_7b941833-eba1-4b59-9ab9-248916f416ab.jpg?v=1658408230"},{"product_id":"a-male-senufo-rhythmpounder-called-deble","title":"A male Senufo Rhythmpounder called \"déblé\"","description":"\u003cp align=\"left\"\u003e\u003cspan style=\"font-size: small;\"\u003eA male Senufo Rhythmpounder called \"déblé\", Northern Ivory Coast, village Nafou - uprising from a cylindrical, oval, base with straight, shortened legs, the openwork arms carved beside a slender body with a small pointed navel, the columnar neck supporting a zoomorphic head with a protruding lower jaw, wearing a domed, single crested coiffure, scarification patterns at the body and around the navel; aged patina, the neck, the arms and the base of the statue with significant signs of use, the sculpture is still in the original condition like it was collected in situ. Normally these traces of use are washed off as soon as these objects arrive on the Western market.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eLit.: A lecture of Dr. Junker, \"der Originalzustand.. Wo ist er geblieben?\" Gottschalk Burkhard, \"Senufo, Massa und die Statuen des poro\" 2002: 43\u003c\/em\u003e\u003cem\u003e; Glaze Anita J., \"Art and Death in a Senufo Village\", Indiana University Press, Bloomington 1981.\u003c\/em\u003e \u003cem\u003eA related eyemplare: Robert Goldwater, Senufo Sculpture from West Africa, New York, 1964, ills. 88 and 88a, Werner Gillon, Collecting African Art, London, 1979, p. 50, fig. 38 William Rubin, \"Primitivism\" in 20th Century Art: Affinity of the Tribal and the Modern, New York, 1984, vol. 1, p. 131 William Rubin, Le Primitivisme dans l’art du 20e siècle. Les artistes modernes devant l’art tribal, Paris, 1987, p. 131 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, L'art africain, Paris, 1988, p. 82, pl. 34, Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan (eds.), Die Kunst des Schwarzen Afrika, Freiburg, 1989\u003cstrong\u003e, \u003c\/strong\u003ep. 80, pl. 34 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, Art of Africa, New York, 1993, p. 82, pl. 34 Mary H. Nooter, Secrecy: African Art that Conceals and Reveals, New York, 1993, p. 155, cat. 79\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eAccording to Gottschalk, who tried to make a typology of the Senufo Déblé, these exemplars would probably be submitted to the group of the kulibèlè and not the fonombèlè.\u003c\/em\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e\"Während die ersteren (fonombèlè) entweder wegen mangelnder Fähigkeit zu feinerer Arbeit (the fonombèlè are the blacksmiths in the Senufo society) oder als bewußt eingesetztes Stilmittel die klaren und wuchtigen Formen, die kontrastierenden Waagerechten und Senkrechten weitgehend so beließen, wie sie bei der Festlegung der Proportionen entstanden waren, bemühten sich die kulibèlè (the traditional carver) um ein weiches Ineinanderfließen der Körperteile, soweit sie nicht den Stil ihrer älteren Brüder in ihre Arbeit aufnahmen oder ihn mehr oder weniger kopierten.\" Source: Burkhard Gottschalk \u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eMore realistic sounds the opinion of Glaze, who described the difficulties of a stylistic typology according to both ethnic groups after she did fieldwork around kufulo (region of Dikodougou). Anita J. Glaze, 81.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi471\/pages\/GSC06258.htm\" target=\"_blank\"\u003eSee matching statue.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003esold\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 132 cm\u003c\/p\u003e\n\u003cp align=\"left\"\u003eWeight: 8,7 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038020632815,"sku":"FSC07838","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/FSC07838_907e8ce6-d86f-40e2-b636-255f16322591.jpg?v=1658407034"},{"product_id":"a-male-senufo-rhythm-pounder","title":"A male Senufo Rhythm Pounder","description":"\u003cp\u003eA male Senufo Rhythm Pounder, called Déblé from the region Tingrela, village Nafoungolo, standing on a tall cylindrical base, straight legs, an abstract elongated torso, the navel is decorated with linear scarification marks, rounded shoulders, the arms are elongated, the hands clenched to fists are resting next to the genitalia, the elongated slender neck carries an oval head with a protruding mouth beneath an elongated nose leading to deep cut brows and closed eyes, the fascial plane with its fine stylized features shows a high degree of abstraction, the coiffure forming a crest on the top and a little curl hanging on the forehead; brown patina, traces of age and ritual use, hardwood. Provenance Mohamed Belo Garba, Korhogo.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit.: Burkhard Gottschalk: Senufo. Massa und die Statuen des Poro, 2002; Staatliche Museen der Preußischer Kulturbesitz, Museum für Völkerkunde Berlin, Die Kunst der Senufo, Elfenbeinküste. Mit einem Beitrag von Till Förster, 1990; Museum Rietberg Zürich, Die Kunst der Senufo aus Schweizer Sammlungen, 1988; Susan Elizabeth Gagliardi: Senufo unbound. Dynamics of art and identity in West Africa, Cleveland 2015.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHeight: 126,5 cm\u003cbr\u003eWeight: 7,9 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038021058799,"sku":"FXP07203","price":3600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/FXP07203.jpg?v=1658153441"},{"product_id":"a-senufo-couple","title":"A Senufo couple","description":"\u003cp align=\"left\"\u003eA Senufo couple, Ivory Coast, the legs uprising from a cylindrical base, each figure is wearing a short skirt, the female sculpture has sagging breasts, both have pointed navels and rounded shoulders leading to slightly angled arms, the hands resting on the skirt, both wearing one armlet on each upper arm and one bracelet on each wrist, a cylindrical neck supporting an oval head with a forward-projecting chin and a protruding mouth, an elongated nose with a broad tip, deep cut brows, the closed eyes are crescent-shaped, the ears are worked as circles, sitting far back, the head surmounted with an Iroquois-like hair cut; heavy dark brown wood, aged patina, several age cracks, a touch patina especially on the face, neck and upper arms.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eLit.: Burkhard Gottschalk: Senufo. Massa und die Statuen des Poro, Düsseldorf 2002; Kat. Ausst. Die Kunst der Senufo: Elfenbeinküste. Mit einem Beitrag von Till Förster, Staatliche Museen der Preußischer Kulturbesitz, Museum für Völkerkunde Berlin, 16.11.1990 - 24.2.1991, Berlin 1990; Die Kunst der Senufo, Museum Rietberg Zürich, aus Schweizer Sammlung, Zürich 1988; Homberger Lorenz: Künstler in Werkstätten der Senufo. In: Afrikanische Meister. Kunst der Elfenbeinküste, Zurüch 2014, p. 151-178.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e1.600 - 2.000,- Euro\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 87 cm \/ 90 cm\u003c\/p\u003e\n\u003cp align=\"left\"\u003eWeight: 5 kg \/ 5.5 kg\u003c\/p\u003e\n\u003cp align=\"left\"\u003e \u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038021222639,"sku":"ABC11295","price":1600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/ABC11295.jpg?v=1658002699"},{"product_id":"an-exceptional-female-senufo-rhytmpounder","title":"An exceptional female Senufo Rhytmpounder","description":"\u003cp\u003eAn exceptional female Senufo Rhytmpounder, called Déblé, Northern Ivory Coast, region Diawala border district Mali\/Ivory Coast.; fine aged patina of shiny surface, provenance Mohamed Belo Garba. Déblé of this age and signs of ritual use become rare nowadays.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003eThis type of sculpture - known under the name deble -is one of the most famous works of West African Art. After the early 1960th, when the Massa-movement destroyed most of the important Senufo objects, only a few old, authentic Rhythm Pounder were saved and came to the Western world. There are no sculptures from the time before 1960 existing anymore in the Senufo region of Ivory Coast, Burkina and Mali. But in some rural regions, the old animistic tradition is still existing and also the funeral ceremonies, in which the deble rhythm pounder has its ritual function. There are differences in the ceremonies in comparison to the years before 1960. In particular, the holy groves, don´t exist anymore or aren´t known by Western ethnologists. It was secret fields, where the Senufo placed their ritual sculptures in the forest. These precious objects would probably be stolen immediately because in nearly every village the Islamic influence becomes stronger and there are more people, who are against the old animistic tradition than decades before. Now, these objects are protected in huts close to the village. The patina is different from the old sculptures because they aren´t exposed to the weather anymore, even the traces of use are the same. According to the last owner, this sculpture comes from the Northern part of the Senufo region, around Koutiala and was a \"replacement\" sculpture, which was used several years during funeral ceremonies before it was sold to an antique dealer near Sikasso. Carving a sculpture like this requires a skilled craftsman with a high degree of old traditional knowledge. The statics is perfect (in the photo from the front side the statue is a little bit bent, because of the camera focus), but not in reality, no considerable age-crack, extremely hard wood, and incredible technical skill must be the base for the purpose of this statue: to pound this fragile but heavy sculpture rhythmically on the ground.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHomberger, Lorenz (Katalog) Die Kunst der Senufo aus Schweizer Sammlungen. Texte: Till Förster, Objektfotos: Wettsein+Kauf Zürich, Museum Rietberg, 1988, Koloss, Hans-Joachim; Förster, Till, Die Kunst der Senufo, Elfenbeinküste, 1979. Museum für Völkerkunde, Berlin, Burkhard Gottschalk Senoufo. Massa et les Statues du Poro, Düsseldorf: Verlag U. Gottschalk, 2002.\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e4.200 - 4.800,- Euro\u003c\/p\u003e\n\u003cp\u003eHeight: 128 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 10,7 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038021845231,"sku":"FBG02736","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/FBG02736.jpg?v=1658152882"},{"product_id":"a-senufo-rhythmpounder-couple","title":"A Senufo Rhythmpounder couple","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Senufo Rhythmpounder couple, called Déblé, Northern Ivory Coast, coming from the Korhogo region, of the village Diamtènè round about 40 km from the city of Korhogo.\u003cbr\u003e\u003cbr\u003eHeight: 120 cm\u003cbr\u003eWeight: 7,5 kg\u003c\/p\u003e\n\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038023123183,"sku":"FSA03358","price":2800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/FSA03358_13443333-2f8b-4d89-b8b9-34b789acb8e0.jpg?v=1658406850"},{"product_id":"a-male-senufo-rhythmpounder","title":"A male Senufo Rhythmpounder","description":"\u003cp\u003eA male Senufo Rhythmpounder (Déblé), provenance close to Boudiali, village Nafou. Uprising from a cylindrical base with straight shortened legs, the openwork arms carved beside a slender body with a small pointed navel, the columnar neck supporting a zoomorphic head with a prominent jutting snout, wearing a domed single crested coiffure, scarification patterns around the navel; aged patina, the neck, the arms and the base of the statue with significant signs of use in form of an intensive touch-patina, the sculpture is still in the original condition like it was collected in situ, the base has several age-cracks but in general the sculpture is in good condition.\u003cbr\u003e\u003cbr\u003eLit.: Gottschalk, Kunst aus Schwarz Afrika, Senufo, Band 3, S. 179.\u003cbr\u003e\u003cbr\u003eOrigin of the heritage of M. Cabinet, Bouaké, one of the most well-known collectors and tribal art dealers in Ivory Coast, in particular for the Senufo, similar to Amadou Bouaflé, Abidjan for the Baule and Guro part of the country.\u003cbr\u003e\u003cbr\u003eHeight: 133 cm\u003cbr\u003eWeight: 7,1 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038023188719,"sku":"FSA02358","price":2400.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/FSA02358_b3e0b06c-5a63-4650-9586-ca28830d77f3.jpg?v=1658341767"},{"product_id":"female-senufo-rhythmopounder-deble","title":"Female Senufo rhythmopounder - déblé","description":"\u003cp\u003eFemale Senufo rhythm pounder - déblé - on cylindrical base with slightly bent legs, curved arms resting on the hips of a slender body with the accentuated navel, the elongated neck supporting an oval head with slightly set back facial plane and protruding chin, small nose, half-circular ears, with curved coiffure, scarification marks on the breasts and around the navel; aged patina, the base of the statue with clear signs of use and age due to the specific function of the sculpture.\u003c\/p\u003e\n800 - 1.000,- Euro\u003cbr\u003e\n\u003cp align=\"left\"\u003eHeight: 75 cm\u003c\/p\u003e\n\u003cp align=\"left\"\u003eWeight: 4,7 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038024499439,"sku":"BBC10302","price":800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBC10302.jpg?v=1657997223"},{"product_id":"a-female-rhythmpounder-called-deble","title":"A female Rhythmpounder - called Déblé","description":"\u003cp\u003eA female Rhythmpounder - called Déblé - Northern Ivory Coast, village Kanoroba - uprising from a cylindrical, slightly concave base with straight, shortened legs, the openwork arms carved beside a slender body with a small pointed navel, the columnar neck supporting a zoomorphic head with a protruding lower jaw, wearing a comb-like crested coiffure, scarification patterns at the body and around the navel; aged patina, the neck, the arms and the base of the statue with significant signs of ritual use, the sculpture is still in the original condition like it was collected in situ. Normally these traces of use are washed off as soon as these objects arrive on the Western market, provenance Mohamed Belo Garba, Korhogo, Ivory Coast.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eLit.: A lecture of Dr. Junker, \"der Originalzustand.. Wo ist er geblieben?\" Gottschalk Burkhard, \"Senufo, Massa und die Statuen des poro\" 2002: 43\u003c\/em\u003e\u003cem\u003e; Glaze Anita J., \"Art and Death in a Senufo Village\", Indiana University Press, Bloomington 1981.\u003c\/em\u003e \u003cem\u003eA related eyemplare: Robert Goldwater, Senufo Sculpture from West Africa, New York, 1964, ills. 88 and 88a, Werner Gillon, Collecting African Art, London, 1979, p. 50, fig. 38 William Rubin, \"Primitivism\" in 20th Century Art: Affinity of the Tribal and the Modern, New York, 1984, vol. 1, p. 131 William Rubin, Le Primitivisme dans l’art du 20e siècle. Les artistes modernes devant l’art tribal, Paris, 1987, p. 131 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, L'art africain, Paris, 1988, p. 82, pl. 34, Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan (eds.), Die Kunst des Schwarzen Afrika, Freiburg, 1989\u003cstrong\u003e, \u003c\/strong\u003ep. 80, pl. 34 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, Art of Africa, New York, 1993, p. 82, pl. 34 Mary H. Nooter, Secrecy: African Art that Conceals and Reveals, New York, 1993, p. 155, cat. 79\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eAccording to Gottschalk, who tried to make a typology of the Senufo Déblé, these exemplars would probably be submitted to the group of the kulibèlè and not the fonombèlè.\u003c\/em\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e\"Während die ersteren (fonombèlè) entweder wegen mangelnder Fähigkeit zu feinerer Arbeit (the fonombèlè are the blacksmiths in the Senufo society) oder als bewußt eingesetztes Stilmittel die klaren und wuchtigen Formen, die kontrastierenden Waagerechten und Senkrechten weitgehend so beließen, wie sie bei der Festlegung der Proportionen entstanden waren, bemühten sich die kulibèlè (the traditional carver) um ein weiches Ineinanderfließen der Körperteile, soweit sie nicht den Stil ihrer älteren Brüder in ihre Arbeit aufnahmen oder ihn mehr oder weniger kopierten.\" Source: Burkhard Gottschalk\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eMore realistic sounds the opinion of Glaze, who described the difficulties of a stylistic typology according to both ethnic groups after she did fieldwork around kufulo (region of Dikodougou). Anita J. Glaze, 81.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e6.000 - 8.000,- Euro\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 129 cm\u003c\/p\u003e\n\u003cp align=\"left\"\u003eWeight, 6,4 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038025154799,"sku":"BBD017669","price":6000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD017669.jpg?v=1658173175"},{"product_id":"a-female-senufo-sculpture","title":"A female Senufo sculpture","description":"\u003cp\u003eA female Senufo sculpture, Ivory Coast, of the Dikodougou region, seated on a four-legged stool, the hands resting on the knees, the cylindrical torso with a pointed navel, surrounded by sun-like scarifications, breast of a young woman beneath broad, rounded shoulders, the neck and the ovoid head slightly bent forwards, fine facial features, a striated coiffure; a thick sacrification patina on shoulders and breasts.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/dikodougou.map.jpg\" alt=\"dikodougou\" width=\"287\" height=\"285\"\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e4.200 - 4.800,- Euro\u003c\/p\u003e\n\u003cp\u003eHeight: 64 cm\u003cbr\u003eWeight: 2,6 kg\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038025449711,"sku":"FSA01680","price":3600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/FSA01680_6962ab68-68b5-46ec-a6b3-afc2977546b9.jpg?v=1658341756"},{"product_id":"a-high-aged-senufo-couple","title":"A high aged Senufo couple","description":"\u003cp\u003eA high-aged Senufo couple, Ivory Coast, of the Boundiali region, village Tinguerela, standing on cylindrical, slightly conical bases, with shortened legs uprising directly - without feet -from the plinths, which is the more archaic Senufo style of these large and rare figures of man and woman; dark nearly anthracite-coloured surface, signs of sacrifications in particular on head and shoulders, Origin Heritage Mr. Kaba Cabinet, Bouaké.\u003c\/p\u003e\n\u003cp\u003eLit.: Wolfgang Jaenicke, Great African Art by a Great African Art Collector and Dealer: Mr. Kaba Cabinet, Ivory Coast.\u003c\/p\u003e\n\u003cp\u003e3.600 - 4.000,- Euro\u003c\/p\u003e\n\u003cp\u003eHeight: 146 cm \/ 138 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 8,7 kg \/ 8,4 kg\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038025679087,"sku":"GSC00232","price":3600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/GSC00232_6b95cba2-eca4-40e0-a8e1-bdc7c42b63aa.jpg?v=1658407310"},{"product_id":"a-remarkable-seated-senufo-maternity","title":"A remarkable seated Senufo maternity","description":"\u003cdiv\u003eA remarkable seated Senufo maternity, Ivory Coast, sitting on a four-legged stool, short feet, sturdy legs, a full belly and solid conical breasts, broad shoulders, long and slender angled arms, on the upturned palms of the mother's hands sit two children, a third sits in a sling on her back, scarification marks on the gluteae, the back,  around the navel, above the breasts, on the cheeks, at the corners of the mouth and on the forehead, on the strong neck sits an impressive head with a protruding mouth showing bared teeth, a slender straight nose with an arrow-shaped tip,  closed almond-shaped eyes, the eyebrows are shaped as two rows of squares that get smaller towards the outside, an elaborated, striated crested hairstyle with one braid hanging over the forehead and one at the back of the head, the hairstyle above the round ears stands out slightly; heavy hardwood, a dark patina with traces of age and use, several cracks.\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe exceptional quality of the figure is particularly evident in the very delicate design of the children's first downy hairs which were styled differently for each of the three children and their finely crafted little hands and feet.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cem\u003eLit.: Burkhard Gottschalk: Senufo. Massa und die Statuen des Poro, Düsseldorf 2002; Kat. Ausst. Die Kunst der Senufo: Elfenbeinküste. Mit einem Beitrag von Till Förster, Staatliche Museen der Preußischer Kulturbesitz, Museum für Völkerkunde Berlin, 16.11.1990 - 24.2.1991, Berlin 1990; Die Kunst der Senufo, Museum Rietberg Zürich, aus Schweizer Sammlung, Zürich 1988; Homberger Lorenz: Künstler in Werkstätten der Senufo. In: Afrikanische Meister. Kunst der Elfenbeinküste, Zurüch 2014; Wolfgang Jaenicke: Maternities West African Art\u003c\/em\u003e.\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eHeight: 91 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 8,0 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038025711855,"sku":"ABC10260","price":1200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/ABC10260.jpg?v=1658003091"},{"product_id":"a-male-senufo-guardian","title":"A male Senufo Guardian","description":"\u003cp\u003eA male Senufo Guardian sculpture or Rhythm-Pounder (Déblé) of the Northern Ivory Coast, close to the border to Mali, uprising from a cylindrical, slightly conical base, the shortened legs without feet, which suggests a more archaic type of this figure, the slender torso with a slightly arched belly and a pointed navel, the arms carved close to the torso with hands resting on the abdomen, the shoulders rounded, a thick columnar neck supports an oval head with a protruding mouth and almond-shaped eyes, the cap-shaped hairstyle seems to represent a stylized bird head; the figure is characterized by an old touch patina, which suggests a longlasting ritual use, remnants of sacrifications in particular on the shoulders, we are not quite sure whether it is a guardian figure or a rhythm pounder (Déblé). The size of the base allows both options. But usually, Déblé are bigger and their purpose for funeral- ceremonies is different. According to Gottschalk Guardian sculptures are rarer than Rhythm-Pounders.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eAccording to Gottschalk, who tried to make a typology of the Senufo Sculptures these exemplare would be probably submitted to the group of the kulibèlè and not the fonombèlè.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e\"Während die ersteren (fonombèlè) entweder wegen mangelnder Fähigkeit zu feinerer Arbeit (the fonombèlè are the blacksmiths in the Senufo society) oder als bewußt eingesetztes Stilmittel die klaren und wuchtigen Formen, die kontrastierenden Waagerechten und Senkrechten weitgehend so beließen, wie sie bei der Festlegung der Proportionen entstanden waren, bemühen sich die kulibèlè (the traditional carver) um ein weiches Ineinanderfließen der Körperteile, soweit sie nicht den Stil ihrer älteren Brüder in ihre Arbeit aufnahmen oder ihn mehr oder weniger kopierten.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eGottschalk Burkhard, \"Senufo, Massa und die Statuen des poro\" 2002: 43.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eMore realistic sounds the opinion of Glaze, who described the difficulties of a stylistic typology according to both ethnic groups after she did fieldwork around kufulo (region of Dikodougou).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eBurkhard Gottschalk, Kunst aus Schwarz Afrika, Senufo, Unbekannte Schätze aus privaten Sammlungen, S.173, 174, \u003cem\u003eGlaze Anita J., \"Art and Death in a Senufo Village\", Indiana University Press, Bloomington 1981.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e2.800 - 3.600,- Euro\u003c\/p\u003e\n\u003cp\u003eHeight: 103 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 5,6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038026563823,"sku":"GSC04095","price":2800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/GSC04095_96e54f49-4b2e-421b-8acb-cedb42bea2ba.jpg?v=1658410500"},{"product_id":"a-male-senufo-rhythm-pounder-called-deble","title":"A male Senufo Rhythm Pounder, called Déblé","description":"\u003cp\u003eA male Senufo Rhythm Pounder, called Déblé from the region Tingrela, village Nafoungolo, standing on a tall cylindrical base, straight legs, an abstract elongated torso, the navel is decorated with linear scarification marks, rounded shoulders, the arms are elongated, the hands clenched to fists are resting next to the genitalia, the elongated slender neck carries an oval head with a protruding mouth beneath an elongated nose leading to deep cut brows and closed eyes, the fascial plane with its fine stylized features shows a high degree of abstraction, the coiffure forming a crest on the top and a little curl hanging on the forehead; brown patina, traces of age and ritual use, hardwood. Provenance Mohamed Belo Garba, Korhogo.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit.: Burkhard Gottschalk: Senufo. Massa und die Statuen des Poro, 2002; Staatliche Museen der Preußischer Kulturbesitz, Museum für Völkerkunde Berlin, Die Kunst der Senufo, Elfenbeinküste. Mit einem Beitrag von Till Förster, 1990; Museum Rietberg Zürich, Die Kunst der Senufo aus Schweizer Sammlungen, 1988; Susan Elizabeth Gagliardi: Senufo unbound. Dynamics of art and identity in West Africa, Cleveland 2015.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 126.5 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 7.9 kg\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038026957039,"sku":"GSC04265","price":3800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/GSC04265.jpg?v=1658408992"},{"product_id":"a-small-female-senufo-rhythm-pounder","title":"A small female Senufo Rhythm Pounder","description":"\u003cdiv\u003e\n\u003cdiv\u003eA small female Senufo Rhythm Pounder or guardian sculpture, border area between Ivory Coast and Mali, standing on a cylindrical base, short legs, wide hips and powerful gluteae, clearly formed labia, rounded shoulders, slightly angled arms, hands hanging down with fingers not closed, scarification marks on the wrists and the pointed breasts, on the narrowing neck rests a downwards prolonged head with an Iroquois-like hair cut, circular ears, the nose is long, straight and round at the tip, the lips are shaped like a lying 0, the eyes are closed, the statue wears a necklace with a square amulet; heavy dark-coloured wood, aged patina, small age cracks, insect damage to the right glutaeus, shiny rubbing marks on the face, neck, upper arms, belly, nipples and labia.\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eLit.: Kat. Ausst. Die Kunst der Senufo, Elfenbeinküste. Mit einem Beitrag von Till Förster, Museum für Völkerkunde Berlin 1990. Burkhard Gottschalk, Senufo. Massa und die Statuen des Poro, Düsseldorf 2002. Susan Elizabeth Gagliardi, Senufo unbound. Dynamics of art and identity in West Africa, 2015. Till Förster, Smoothing the Way of the Dead, A Senufo Rhythm Pounder, Yale University Art Gallery Bulletin (2005).\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e4.200 - 4.800,- Euro\u003c\/div\u003e\n\u003cdiv\u003eHeight:  90 cm\u003c\/div\u003e\n\u003cdiv\u003eWeight:  6,8 kg\u003c\/div\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038027809007,"sku":"GSC01895","price":4200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/GSC01895_b029336b-bae2-44ed-bf05-24af374207d7.jpg?v=1658407362"},{"product_id":"a-remarkable-senufo-maternity","title":"A remarkable Senufo maternity","description":"\u003cp align=\"left\"\u003eA remarkable Senufo maternity of the Boundiali region, about 100 km westwards from Korhogo, seated on a four-leg stool, holding two children on her knees, an elaborated, striated hairdress beneath a fascial plane with bulging eyes and a small pointed mouth, showing the teeth, the tapering, big breasts framed by rectangular shoulders, ending up in open work arms; various brownish to occre patina. There are only three examples of this sculpture\/carver known in official publications.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eOver the years we collected two other sculptures of the same carver or its workshop from the Boudiali region.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e \u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/senufo.boudiali.region.jpg\" alt=\"senufo maternity of the Boudiali region\" width=\"265\" height=\"433\"\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eA sculpture of the same carver\/workshop collected around 2008 close to Boundiali.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e4.200 - 4.800,- Euro\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 71 cm\u003c\/p\u003e\n\u003cp align=\"left\"\u003eWeight: 10,6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038027841775,"sku":"BSC08298","price":4200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BSC08303.jpg?v=1657917084"},{"product_id":"a-female-senufo-rhythm-pounder-2","title":"A female Senufo Rhythm Pounder","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA female Senufo Rhythm Pounder, called Déblé, region Nafoun, standing on a cylindrical base, slightly bent legs, a loin cloth covering the genitalia, the protruding navel is decorated with radiating linear scarification marks, also scarification marks on the sagging breasts and in the face, hanging shoulders, the arms are elongated, the hands are touching the thighs, one bracelet on each wrist and two armlets on each upper arm, around the elongated slender neck an amulet on a pearl chain, a small head with a protruding mouth, a lip-plug through the lower lip, a flat curved nose, arched brows and round big eyes, the coiffure forming a high crest with a curl sticking up above the forehead, a curl at the nape of the neck and one over each ear; a light sacrificial patina, shiny parts where the Déblé was lifted and held, especially at the upper arms, traces of age and ritual use, heavy hard wood. Provenance Mohamed Belo Garba.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLit.: Burkhard Gottschalk: Senufo. Massa and the Statues of Poro, 2002; State Museums of Prussian Cultural Heritage, Museum of Ethnology Berlin, The Art of Senufo, Ivory Coast. With a contribution by Till Förster, 1990; Museum Rietberg Zurich, The Art of Senufo from Swiss Collections, 1988; Susan Elizabeth Gagliardi: Senufo unbound. Dynamics of art and identity in West Africa, Cleveland 2015.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHeight: 139 cm\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWeight: 8,30 kg\u003c\/span\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43047091568879,"sku":"ABC04060","price":2400.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/ABC04060.jpg?v=1658003296"},{"product_id":"a-high-aged-female-senufo-rhythm-pounder-called-deble-1","title":"A high aged female Senufo Rhythm Pounder, called \"Deblé","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA high-aged female Senufo Rhythm Pounder, called \"Deblé, Ivory Coast, early 20th century, the legs uprising from a cylindrical base, the slender torso with hanging tapering breasts, the elongated arms carved close to the body with abstract hands touching the thighs, the large head with an elongated fascial plane, the mouth pointed beneath a slender nose, framed by cowrie shell eyes and spherical disclike ears; extremely hard and heavy wood with a fine touch patina, which also verifies its high age of about hundred years.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"Senufo artists carved this large wooden \u003cstrong data-mce-fragment=\"1\"\u003espirit figure,\u003c\/strong\u003e which is known as a deble [day-blay], or \"bush spirit.\" Deble figures can be male or female, and they are used in special rituals that take place at initiations, agricultural ceremonies, and funerals. During a funeral, honoured groups of people stand in rows on sacred ground and, while holding the spirit figures at the elbows, slowly pound them on the earth. The dull sounds invite the souls of deceased ancestors, the \"living dead,\" to participate in the ceremonies. The sounds also purify the earth. This action is only one part of a ritual activity that also includes music and dance.\" Source: Dallas Museum of Arts.\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e3.600 - 4.200,- Euro\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eHeight: 115 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 9,8 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43047211794671,"sku":"DSC01495","price":3600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/DSC01495_c90a9c66-0335-4b73-a34b-017d133038ad.jpg?v=1658408531"},{"product_id":"a-male-senufo-rhythm-pounder-1","title":"A male Senufo, Rhythm Pounder","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA male Senufo, Rhythm Pounder, called Déblé, Northern Ivory Coast, region of Boudiali, collected in the village Nafou, standing on a cylindrical, slightly conical base, on flattened high abstract feet and columnar legs, torso with a pointed navel, rounded shoulders and open work arms, the large stylized hands resting close to the hips, a thick neck supporting an oval head with protruding chin and a flattened facial plane, the coiffure three-parted with a domed middle crest; a fine touch patina is demonstrating a long-lasting ritual use; brown to reddish patina, partly shiny.\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eAccording to Gottschalk, who tried to create a typology of the Senufo Déblé, this example would probably be assigned to the group of the kulibèlè and not the fonombèlè.\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\"Während die ersteren (fonombèlè) entweder wegen mangelnder Fähigkeit zu feinerer Arbeit (the fonombèlè are the blacksmiths in the Senufo society) oder als bewußt eingesetztes Stilmittel die klaren und wuchtigen Formen, die kontrastierenden Waagerechten und Senkrechten weitgehend so beließen, wie sie bei der Festlegung der Proportionen entstanden waren, bemühen sich die kulibèlè (the traditional carver) um ein weiches Ineinanderfließen der Körperteile, soweit sie nicht den Stil ihrer älteren Brüder in ihre Arbeit aufnahmen oder ihn mehr oder weniger kopierten. Burkhard Gottschal , \"Senufo, Massa und die Statuen des Poro\", 2002, 43.\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eMore realistic sounds the opinion of Glaze, who described the difficulties of a stylistic typology according to both ethnic groups after she did fieldwork around Kufulo (region of Dikodougou). Anita J. Glaze, \"Art and Death in a Senufo Village\", Indiana University Press, Bloomington, 1981, 7.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e3.600 - 4.200,- Euro\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 114 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 6,8 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43047221526767,"sku":"FSA03455","price":3600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/FSA03455_327a5a7b-ff41-4b7f-8089-35f343c6ab7d.jpg?v=1658407019"},{"product_id":"a-senufo-couple-4","title":"A Senufo couple","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Senufo couple, seated on four-legged stools, with wedge-shaped feet, the female has a child on her lap, firm conical breasts, the male holds a sickle in his right hand, both sculptures have a slender torso, bent arms, bracelets around lower and upper arms, a fascial plane with bulging heavy-lidded coffee bean eyes, a slender nose and a slightly open mouth, whiskers-like scarification marks and a lip plug; natural brownish patina, traces of age and ritual use, partly eroded, several cracks on each sculpture.\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLit.: Burkhard Gottschalk: Senufo. Massa und die Statuen des Poro, Düsseldorf 2002; Kat. Ausst. Die Kunst der Senufo: Elfenbeinküste. Mit einem Beitrag von Till Förster, Staatliche Museen der Preußischer Kulturbesitz, Museum für Völkerkunde Berlin, 16.11.1990 - 24.2.1991, Berlin 1990; Die Kunst der Senufo, Museum Rietberg Zürich, aus Schweizer Sammlung, Zürich 1988; Homberger Lorenz: Künstler in Werkstätten der Senufo. In: Afrikanische Meister. Kunst der Elfenbeinküste, Zurüch 2014, p. 151-178; \u003c\/em\u003e\u003cem data-mce-fragment=\"1\"\u003eGlaze, Anita. “Woman Power and Art in a Senufo Village.” African Arts 8 (3, 1975).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e1.500 - 1.800,- Euro\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eHeight: 62 cm \/ 63 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 2,5 kg \/ 2,8 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43047232176367,"sku":"BBC17338","price":1500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBC17338.jpg?v=1658004055"},{"product_id":"a-senufo-couple-5","title":"A Senufo couple","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Senufo couple of the carver Karnigi Coulibaly, 1890 – 1969, or his workshop, a Fono sculptor, Fonondara, Côte d‘Ivoire.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eEach figure standing on a semicircular base, flat feet, well-formed legs, a pointed navel with scarifications, square shoulders, arms bent with bangles above the elbow and hands stretched out to the front, the breasts of the female statue are long and pointed decorated with scarifications, both statues wear an amulet, the mouth is protruding and slightly open, the nose long and broad at the tip, the almond-shaped eyes arched by long brows which are connected in the middle, the coiffure in four long braids and a small one hangs down the neck; dark brown patina, a few small age cracks on both statues, the base of the male statue has a little bit wider crack in the front and on the left leg is an insect damage, otherwise in fine condition.\u003c\/p\u003e\n\u003cblockquote\u003e\u003c\/blockquote\u003e\n\u003cblockquote\u003eHeight: 35 cm \/ 34 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 590 g \/ 660 g\u003c\/blockquote\u003e\n\u003cp data-mce-fragment=\"1\" align=\"left\"\u003e\u003cimg data-mce-fragment=\"1\" height=\"415\" width=\"245\" alt=\"\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/karnigi.coulibaly.jpg\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/karnigi.coulibaly.jpg\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003ephoto: wj Another sculpture of this region, we\u003cbr data-mce-fragment=\"1\"\u003ecollected 2008 in situ.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg data-mce-fragment=\"1\" height=\"324\" width=\"469\" alt=\"\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/fonondara.nafou.senufo.png\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/fonondara.nafou.senufo.png\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eBitte an dieser Stelle das Foto aus Himmelheber \"Negerkunst und Negerkünstler\"\u003cbr data-mce-fragment=\"1\"\u003e!960, S 65, unterstes Foto ganz rechts. hinzufügen.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg data-mce-fragment=\"1\" height=\"458\" width=\"281\" alt=\"\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/karnigo.coulibaly.workshop.jpg\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/karnigo.coulibaly.workshop.jpg\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eStylistically from the same workshop, one carver is \u003cspan data-mce-fragment=\"1\" lang=\"en\"\u003e\u003cspan data-mce-fragment=\"1\" data-number-of-phrases=\"1\" data-phrase-index=\"0\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\"\u003echaracterized\u003cbr data-mce-fragment=\"1\"\u003eby a softer style and, as a distinguishing feature, the pigtails\u003cbr data-mce-fragment=\"1\"\u003eat the back are higher than the front ones.\u003c\/span\u003e\u003c\/span\u003e \u003cspan data-mce-fragment=\"1\" lang=\"en\"\u003e\u003cspan data-mce-fragment=\"1\" data-number-of-phrases=\"1\" data-phrase-index=\"0\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\"\u003eBut it can also be that\u003cbr data-mce-fragment=\"1\"\u003ethere are different phases in the development of one and the same\u003cbr data-mce-fragment=\"1\"\u003ecarver\u003c\/span\u003e\u003c\/span\u003e. \u003cspan data-mce-fragment=\"1\" lang=\"en\"\u003e\u003cspan data-mce-fragment=\"1\" data-number-of-phrases=\"2\" data-phrase-index=\"0\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\"\u003eThen the pair of figures shown are likely to be a late work.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" lang=\"en\"\u003e\u003cspan data-mce-fragment=\"1\" data-number-of-phrases=\"2\" data-phrase-index=\"1\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\"\u003eIt is more likely, however, that there are two different, similarly gifted\u003cbr data-mce-fragment=\"1\"\u003ecarvers.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43047236960495,"sku":"BBC05245","price":600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBC05245.jpg?v=1658004289"},{"product_id":"a-senufo-kpelie-mask-3","title":"A Senufo Kpelié mask","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eA Senufo Kpelié mask, made of brass, the oval face with scarifications around the nose, a domed, bulging forehead beneath two bent horns and a sceptre in the middle, pierced through at the rim for attachments; a fine brass patina, partly greenish and encrusted, traces of ritual use and age, the rim partly damaged.\u003c\/p\u003e\n\u003cblockquote\u003e\u003c\/blockquote\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e900 - 1.000,- Euro\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eHeight: 27 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 1060 g (incl. stand)\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43047241089263,"sku":"BBC02798","price":900.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBC02798.jpg?v=1658004620"},{"product_id":"a-senufo-couple-3","title":"A Senufo couple","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Senufo Rhythm Pounder or probably Guardian Sculpture couple, poropi:ibele, who belong to the group of the déblé, from the village of M'Bengué, about 75 km from Korhogo, from the thighs upwards standing on a cylindrical base, the elongated arms of both bent in an inorganic angle, the hands of the female sculpture rest on the thighs, the male carries a sword and a rooster, a slender body with a pointed navel from which scarifications are radiating, the female has protruding slightly hanging conical breasts, the male statue with accentuated genitalia, the elongated neck supporting a head with a heart-shaped facial plane, an Iroquois-like coiffure, framed by half-circular ears, both statues wear a necklace with a pendant; dark-brown patina, at the arms and at the neck significant traces of use, heavy hardwood, some age cracks at each sculpture. Provenance Mohamed Belo Garba.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eDie „ „Kinder des poro“, von denen in jedem Dorf mehrere benötigt wurden“, haben vor allem eine Wächterfunktion. Unter ihnen gibt es die „Rhythm Pounder“, die in der Regel einen hohen Sockel haben und bei Beerdigungen auf den Boden gestampft werden und jene, die meistens einen niedrigen Sockel (und oft angewinkelte Arme) haben und nicht aufgestampft werden. „Der Tote liegt bereits in unzählige Decken eingenäht als riesiger Kokon auf dem Boden, links und rechts daneben je eine mehr als einen Meter hohe anthropomorphe Statue, die eine männlich, die andere weiblich. Es sind die poropi:ibele (sing. poropiu) genannten Statuen des poro, die bei der Totenbestattung eine wichtige Rolle spielen.“ Gottschalk, S. 11.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e„Es ist für den Kenner ärgerlich, daß diese Statuen in der Literatur durchweg als „Rhythmusstampfer“ bezeichnet werden, auch wenn alle äußeren Zeichen dagegen sprechen. … Die Bezeichnung „Rhythmusstampfer“ oder do:ogèlè ist also nur für eine, wenn auch wichtige, Verwendung der großen Statuen der Senufo zutreffend, die lediglich auf eine für jeden sichtbare Handlung hinweist und somit keinerlei Aussage beinhaltet. Treffender ist der hauptsächlich im Zentralgebiet gebräuchliche, aber in der Literatur wenig benutzte Begriff poropi:ibele, zu deutsch „Kinder des poro“, mit dem großformatige Skulpturen dieses Männerbundes bezeichnet werden (sing. poropiu).“ Gottschalk, 30, 31.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e„So bleibt als Résumé die Feststellung, daß die in der Literatur déblé bzw. Rhythmusstampfer und von ihren Benutzern poropi:ibele bzw. do:ogèlè genannten Statuen eine wichtige Funktion im poro der Männer haben, daß ihre Bedeutung nicht vollends bekannt ist und ihre Verwendungsweise nur im Einzelfall auf Grund von Indizien nachzuweisen ist, wenn sie nicht durch Beobachtung im Feld belegt werden konnte.“\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLit.: Burkhard Gottschalk, Senufo. Massa und die Statuen des Poro, 2002; Staatliche Museen der Preußischer Kulturbesitz, Museum für Völkerkunde Berlin, Die Kunst der Senufo, Elfenbeinküste. Mit einem Beitrag von Till Förster, 1990; Museum Rietberg Zürich, Die Kunst der Senufo aus Schweizer Sammlungen, 1988; Susan Elizabeth Gagliardi, Senufo unbound. Dynamics of art and identity in West Africa, Cleveland 2015.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMore information on request.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 133 cm \/ 139 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 13,6 kg \/ 11,2 kg\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43066569752815,"sku":"ABC03481","price":4200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/ABC03481_e235e8cd-4dd1-4905-9833-92f61db57518.jpg?v=1658407871"},{"product_id":"a-large-male-senufo-guardian-sculpture","title":"A large male Senufo Guardian sculpture","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA large male Senufo Guardian sculpture from the Region of Korogho, village Tingrela, related to the well known Rhythm Pounders or \"Deblé\", standing on a cylindrical base, carrying a double-edged knife in the left hand and a fetish bell in the right hand. On the top of the head sits a plaque attachment with an X carved out in the middle. The plaque attachment means that the object plays a double role: First it is a field guard and second it plays a ceremonial role. Heavy hard \"Lenke\" wood (not a Senari a Djula word), on the plaque small remnants of white pigments. Provenance: M. Cabinet, Bouaké, Ivory Coast.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e.Burkhard Gottschalk writes that this is not a rhythm pounder (Débéle, do:ogèlè), but a very rare stationary used guardian figure. These sculptures are called propi:ibèlè, „children of the Poro\".\u003cbr data-mce-fragment=\"1\"\u003e\"Their membership of the Poro would be an explanation for our little knowledge of their significance, because this organisation, which largely determines the village world of the Senufo, is a secret society. ... \u003c\/em\u003e\u003cem data-mce-fragment=\"1\"\u003eEven rarer are the statues [propi:ibèlè] … of which it is only said that they belong to the Poro, because there is no reliable information about their use.“ Burkhard Gottschalk, Kunst aus Schwarzafrika. SENUFO. Unbekannte Schätze aus privaten Sammlungen, 2009, p.174, 179.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLit.: Burkhard Gottschalk, Senufo. Massa und die Statuen des Poro, 2002; Staatliche Museen der Preußischer Kulturbesitz, Museum für Völkerkunde Berlin, Die Kunst der Senufo, Elfenbeinküste. Mit einem Beitrag von Till Förster, 1990; Museum Rietberg Zürich, Die Kunst der Senufo aus Schweizer Sammlungen, 1988; Susan Elizabeth Gagliardi, Senufo unbound. Dynamics of art and identity in West Africa, Cleveland 2015 page 78, Fig. 41 Private collection McClain Gallery, Houston, Sothebys,\u003c\/em\u003e 14 November, 2008, Lot 63.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eHeight: 144 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 9,5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43555765223663,"sku":"GSC01641","price":4600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/GSC01641.jpg?v=1667422450"},{"product_id":"a-senufo-guardian-sculpture-1","title":"A Senufo guardian sculpture","description":"\u003cp\u003eA Senufo guardian sculpture, Northern Ivory Coast, Bundiali region, rising from a cylindrical base, short curved legs, which emerge directly from the base, an abstract loincloth, a slender torso with a protruding navel, which is decorated with star-shaped scarifications, the breasts tapering and slightly drooping, remarkable the elongated arms, of which the left is bent in a very naive manner and touches the chest, the neck slightly inclined, the head with a flat face, which is characterized by fine features, the jagged coiffure, which points to the Bundiali region, deserves special mention.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e\"Auf den Auktionen wird in jüngerer Zeit nur noch gelegentlich ein altes und bedeutendes Exemplar dieser Statuen (deble) angeboten. Wegen der Aura, von denen die Deble auf Grund ihrer Verwendung bei Beerdigungen umgeben zu sein scheinen, und wegen ihrer Seltenheit stehen diese Statuen bei den Sammlern in einem hohen Ansehen. Noch seltener werden die stationär benurtzen Statuen mit flachem Sockel angeboten, von denen es lediglich heißt, daß sie zum Poro gehören, denn über ihre Verwendung liegen keine gesicherten Erkenntnisse vor.\" \u003c\/em\u003e\u003cem\u003eGottschalk, Kunst aus Schwarz Afrika, Vol. 3, page 179.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eLit.: Kat. Ausst. Die Kunst der Senufo, Elfenbeinküste. Mit einem Beitrag von Till Förster, Museum für Völkerkunde Berlin 1990. Burkhard Gottschalk, Senufo. Massa und die Statuen des Poro, Düsseldorf 2002. Susan Elizabeth Gagliardi, Senufo unbound. Dynamics of art and identity in West Africa, 2015. Till Förster, Smoothing the Way of the Dead, A Senufo Rhythm Pounder, Yale University Art Gallery Bulletin (2005).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003eMore info on request\u003c\/p\u003e\n\u003cp align=\"left\"\u003e3.800 - 4.600,- Euro\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 123 cm\u003cbr\u003eWeight: 9,5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43632430121199,"sku":"_PTW1067","price":3800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/PTW1067.jpg?v=1669832951"},{"product_id":"a-pair-of-senufo-rhythm-stompers-called-deble","title":"A pair of Senufo rhythm stompers called déblé","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cspan lang=\"en\" data-mce-fragment=\"1\" jsaction=\"mouseup:BR6jm\" jsname=\"jqKxS\"\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eA pair of Senufo rhythm stompers called déblé, the statues rise on a stout base with slightly bent legs, the openwork carved arms alongside a slender body with a pointed navel, protruding conical breasts, the elongated neck supporting a pointed-chinned head, a\u003c\/span\u003e \u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003edome hairstyle framed by semicircular ears;\u003c\/span\u003e \u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003edark brown to blackened patina, clear signs of usage on arms and neck, heavy hardwood;\u003c\/span\u003e \u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eAge cracks on the right sides of each sculpture.\u003c\/span\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThis type of sculpture - known under the name deble - is one of the most famous works of West African Art. After the early 20th century, when the Massa movement destroyed most of the important Senufo objects, only a few old, authentic Rhythm Pounders were saved and came to the Western world. There are no sculptures from a time before 1900 existing anymore in the Senufo region of Ivory Coast, Burkina, and Mali. But in some rural regions, the old animistic tradition is still existing as also the funeral ceremonies, in which the deble rhythm pounder has its ritual function. There are differences in the ceremonies in comparison to the years before 1900. In particular, the holy graves don't exist anymore or aren't known by Western ethnologists. It was a secret field, where the Senufo placed their ritual sculptures in the forest. These precious objects would probably be stolen immediately because in nearly every village the Islamic influence becomes stronger and there are more people, who are against the old animistic tradition than decades before. Now, these objects are protected in huts close to the village. The patina is different than the extremely old sculptures of the end of the 19th century because they aren't exposed to the weather anymore, even the traces of use are the same. According to the last owner, this sculpture comes from the Northern part of the Senufo region, around Korhogo. Carving a sculpture like this requires a skilled craftsman with a high degree of old traditional knowledge. The statics is perfect, but not in reality, no considerable age-crack, and extremely hard wood, an incredible technical skill must be the base for the purpose of this statue: to pound this fragile but heavy sculpture rhythmically on the ground. Probably around 1930.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eHomberger, Lorenz (Katalog) Die Kunst der Senufo aus Schweizer Sammlungen. Texte: Till Förster, Objektfotos: Wettsein+Kauf Zürich, Museum Rietberg, 1988, Koloss, Hans-Joachim; Förster, Till, Die Kunst der Senufo, Elfenbeinküste, 1979. Museum für Völkerkunde, Berlin, Burkhard Gottschalk Senoufo. Massa et les Statues du Poro, Düsseldorf: Verlag U. Gottschalk, 2002.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e8.000 - 10.000, -Euro\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eHeight: 109 cm \/ 105 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 6,8 kg \/ 6,3 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43632439427311,"sku":"GSC09680","price":8000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/GSC09680.jpg?v=1669833396"},{"product_id":"a-senufo-rhythmpounder-called-deble","title":"A Senufo Rhythmpounder, called Déblé, or a guardian sculpture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA Senufo Rhythmpounder, called Déblé, or a guardian sculpture Ivory Coast, Sikasso region, almost cubist-looking, standing on a cylindrical base, short legs, elongated torso, the navel surrounded by radially arranged scarification marks, rounded shoulders, very long arms slightly bent, the hands clenched into fists, thin protruding breasts, a gently curved long neck, an elongated head with an iroquois-like hair cut, the lips are presented as two short bridges, the nose is long and flat, the eyes are formed only as incisions and the ears are worked as rings, in whose middle is a deepening, cowrie shells hanging on the ears; mahogany-colored, shiny patina, traces of longlasting rituak use at the neck and at the arms, several small age cracks. Certificate of origin and providence.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cimg alt=\"\" height=\"441\" width=\"291\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/senufo.deble.sothebys.com.jpg\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eOn the 5th In May 1995, on Christies this Statue Senufo was offered, which is remarkable because of their unusual and masterful design.\u003cbr\u003e\u003cbr\u003eViewed from the side, the reduction of the face to a few elements is particularly clear. A horizontal incision marks the eye sockets, the face plane runs vertically downwards from there, also the bridge forming the nose and the mouth. As a result, the forward-pointing pine part typical of sculptures of the Senufo also points downwards and emphasises the rigour of the face.\u003cbr\u003e\u003cbr\u003e\u003cimg alt=\"\" height=\"444\" width=\"297\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/senufo.kunin.collrection.jpg\"\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAnother Senufo Rhythmpounder from the Sikasso region, former Kunin Collection.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003cbr\u003eAfter a short swing, the posterior course of the lower jaw, which initially strives almost vertically upwards, passes into the curves of the back of the skull and the hairstyle, which contrast with the flat design of the face and thus create tension. The almost circular ears, placed like plates, on whose bottom metal earrings were attached, are one of the characteristic features of the style of the Sikasso region, in which Lem found these and other comparable sculptures.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eVery attractive and testifying to the fine feeling of shape of the carver is the slight thickening in the middle of the neck, which forms a fine burr there and divides its length, which is largely concealed from a lateral view from a frontal point of view through the jaw part. Below the neck begins - viewed from the front - a game of curves and straights, of arches and swings. The power that is to be expressed in these statues is combined in this specimen with a certain lightness, which gives the impression of persistence in a movement for which there are few other examples in African sculpture. The two breasts fall far away from the body like cascades into the depths. It is thinner than the neck here and thus makes the swing of the shoulders even more noticeable. The arms growing from the shoulders point slightly backwards in the bend and end in stumps, on whose forward-pointing surfaces the fingers, in the typical design of the forge, are indicated only by notches. Seen from the side, the swings of the body are less spanding than from a frontal point of view. The head Looks particularly large by the hairstyle and dominates the body - a peculiarity of the African sculpture. Particularly beautiful is the refined design of the neck, the division of the necessary length by a slight thickening forming a fine ridge in the middle and the gentle transition into the spine.\u003cbr\u003e\u003cbr\u003eThe rear view shows a gentle inclination of the body to the side and a slight rotation of the head to the left. It is unlikely that this bending, which acts like a frozen movement, was created by a warp of the wood that was still fresh at the time the statue was made, because it does not have any of the cracks usually created during such a process. It is also difficult to imagine that a master of his craft has used an already curved piece of wood for the production of such an extraordinary and certainly important statue. It is therefore a deliberately used stylistic device that also distinguishes other specimens of these sculptures of the Senufo. The neck shows from this point of view a vertical thickening with a fine ridge, which forms a cross with the horizontal. The backbone is characterised by a deep notch that reaches down to the tail and separates the two buttocks on which the hands rest.\u003cbr\u003e\u003cbr\u003eNot to be overlooked is a stylistic discrepancy between the face and the torso up to the hip on the one hand and the hip itself with the legs disappearing in a base on the other. It may be perceived as a formal weakness from the point of view of a viewer accustomed to European art, but the person familiar with African art also wonders what this strange and only the statues of this type's own design is all about. The legs grow like two round woods from the buttock halves and disappear in a heavy base that does not really want to fit the finely crafted statue. While the head and body up to the hips have a relatively smooth and shiny surface, the legs and base clearly show the traces of the decks, which can only be seen in the upper area. An inability to find a qualitatively adequate solution for the design of the lower part for the lower part can be excluded from such Phosecure abilities in a sknitzer, may have been the basis of an intention about which one can only speculate.Burkhard Gottschalk writes that this is not a rhythm pounder (Débéle, do:ogèlè), but a very rare stationary used guardian figure. These sculptures are called propi:ibèlè, „children of the Poro\".\u003cbr\u003e\u003cbr\u003e\"Their membership of the Poro would be an explanation for our little knowledge of their significance, because this organisation, which largely determines the village world of the Senufo, is a secret society. ... Even rarer are the statues [propi:ibèlè] … of which it is only said that they belong to the Poro, because there is no reliable information about their use.“ Burkhard Gottschalk, Kunst aus Schwarzafrika. SENUFO. Unbekannte Schätze aus privaten Sammlungen, 2009, p.174, 179.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eLit.: Burkhard Gottschalk, Senufo. Massa und die Statuen des Poro, 2002; Staatliche Museen der Preußischer Kulturbesitz, Museum für Völkerkunde Berlin, Die Kunst der Senufo, Elfenbeinküste. Mit einem Beitrag von Till Förster, 1990; Museum Rietberg Zürich, Die Kunst der Senufo aus Schweizer Sammlungen, 1988; Susan Elizabeth Gagliardi, Senufo unbound. Dynamics of art and identity in West Africa, Cleveland 2015.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003ewj\u003c\/p\u003e\n\u003cp\u003eHeight: 117 cm\u003cbr\u003eWeight: 8,7 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47706250117443,"sku":"XBD120781","price":3200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD120781.jpg?v=1705066649"},{"product_id":"an-outstanding-female-senufo-deble-or-guardian-sculpture","title":"An outstanding female Senufo Déblé or guardian sculpture","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAn outstanding female Senufo Déblé or guardian sculpture, posted on a circular base, the torso slightly bent backwards, the breasts tapering, rounded shoulders, long arms with armlets bent forward and broad stylized hands, a pointed mouth with gritted teeth, a long slender nose, big closed eyes, a single crested comblike coiffure with two braids; blackened patina, partly shiny, lighter at the frequently touched parts, several thin age cracks. Certificate of providence.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eDie „ „Kinder des poro“, von denen in jedem Dorf mehrere benötigt wurden“, haben vor allem eine Wächterfunktion. Unter ihnen gibt es die „Rhythm Pounder“, die in der Regel einen hohen Sockel haben und bei Beerdigungen auf den Boden gestampft werden und jene, die meistens einen niedrigen Sockel (und oft angewinkelte Arme) haben und nicht aufgestampft werden. „Der Tote liegt bereits in unzählige Decken eingenäht als riesiger Kokon auf dem Boden, links und rechts daneben je eine mehr als einen Meter hohe anthropomorphe Statue, die eine männlich, die andere weiblich. Es sind die poropi:ibele (sing. poropiu) genannten Statuen des poro, die bei der Totenbestattung eine wichtige Rolle spielen.“ Gottschalk, S. 11.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e„Es ist für den Kenner ärgerlich, daß diese Statuen in der Literatur durchweg als „Rhythmusstampfer“ bezeichnet werden, auch wenn alle äußeren Zeichen dagegen sprechen. … Die Bezeichnung „Rhythmusstampfer“ oder do:ogèlè ist also nur für eine, wenn auch wichtige, Verwendung der großen Statuen der Senufo zutreffend, die lediglich auf eine für jeden sichtbare Handlung hinweist und somit keinerlei Aussage beinhaltet. Treffender ist der hauptsächlich im Zentralgebiet gebräuchliche, aber in der Literatur wenig benutzte Begriff poropi:ibele, zu deutsch „Kinder des poro“, mit dem großformatige Skulpturen dieses Männerbundes bezeichnet werden (sing. poropiu).“ Gottschalk, 30, 31.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e„So bleibt als Résumé die Feststellung, daß die in der Literatur déblé bzw. Rhythmusstampfer und von ihren Benutzern poropi:ibele bzw. do:ogèlè genannten Statuen eine wichtige Funktion im poro der Männer haben, daß ihre Bedeutung nicht vollends bekannt ist und ihre Verwendungsweise nur im Einzelfall auf Grund von Indizien nachzuweisen ist, wenn sie nicht durch Beobachtung im Feld belegt werden konnte.“\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eLit.: Burkhard Gottschalk, Senufo. Massa und die Statuen des Poro, 2002; Staatliche Museen der Preußischer Kulturbesitz, Museum für Völkerkunde Berlin, Die Kunst der Senufo, Elfenbeinküste. Mit einem Beitrag von Till Förster, 1990; Museum Rietberg Zürich, Die Kunst der Senufo aus Schweizer Sammlungen, 1988; Susan Elizabeth Gagliardi, Senufo unbound. Dynamics of art and identity in West Africa, Cleveland 2015.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 106 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 4,1 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47802106478915,"sku":"XBD120748","price":1600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD120748.jpg?v=1706610403"},{"product_id":"a-female-senufo-figure-from-ivory-coast","title":"A female Senufo figure from Ivory Coast","description":"\u003cp\u003eA female Senufo figure from Ivory Coast, Korhogo region, sitting on a four-legged stool, her feet hang off the ground, a cylindrical torso with a protruding navel and conical breasts with three vertical scarifications on both of them, the thin arms extend from the shoulders and are carved in open work close to the body, armlets and bracelets at the elongated arms, a necklace with a triangular pendant at the neck, a columnar neck supports a large head, a pointed mouth beneath an elongated, slender nose, \u003cspan lang=\"en\" jsname=\"jqKxS\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\"\u003ewhich is framed by crescent-shaped eyes\u003c\/span\u003e, a threeparted, domed coiffure, starting in a knot on top of the forehead and extends to the neck, signs of ritual use, which is particularly expressed in a touch patina on the arms and the neck of the sculpture. Certificate of origin and provenance.  \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“The Senufo produce a rich variety of sculptures, mainly associated with the Poro society. The sculptors and metalsmiths, endogamous groups responsible for making the cult objects live on their own in a separate part of the village. The attitude shown toward them by other Senufo is a mixture of fear and respect, owing to their privileged relationship with the natural forces that they are capable of channelling in a sculpture. During initiations, headpieces are worn that have a flat, vertical, round or rectangular board on top decorated with paint or pierced work. Many wood carvings of male figures depict these headpieces, sometimes on rhythm pounders used by young initiates, who beat the earth to call upon the ancestors to take part in the ceremony and purify the earth. The carvers also produce ritual female statues, including mother-and-child figures, as well as statuettes depicting bush spirits and supernatural beings and equestrian figures. Large statues representing hornbills (often seen also on masks) and used in the lo society as symbols of fertility are the standing birds called porpianong. Figures of the hornbill are used in initiation, and groups of birds on a pole are trophies for the best farmer. Figures of male and female twins and of horsemen are used in divination. These represent the spirit familiars enabling the divination process. The diviners themselves are women, forming the sandogo society. Shrine doors and drums are carved in relief, and small figures and ritual rings are cast in bronze.”\u003cbr\u003eSource: African Art Museum\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eHeight: 103 cm\u003cbr\u003eWeight: 4,4 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396453970243,"sku":"XBD135698","price":1600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135698.jpg?v=1715592939"},{"product_id":"a-female-debele-from-the-sikasso-region","title":"A female Débéle from the Sikasso region","description":"\u003cp\u003eA female Senufo Rhythm pounder - called Débéle - Mali, Sikasso region, uprising from a cylindrical, oval, base with straight, shortened legs, the openwork arms carved beside a slender body with a small pointed navel, the hips covered with cowrie shells, wide shoulders, the columnar neck supporting a zoomorphic head with a protruding lower jaw, wearing a domed, single crested coiffure, scarification patterns at the body and around the navel; aged patina, the neck, the arms and the base of the statue with significant signs of a touch patina, the sculpture is still in the original condition like it was collected in situ. Normally these traces of use are washed off as soon as these objects arrive on the Western market.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLit.: A lecture of Dr. Junker, \"der Originalzustand.. Wo ist er geblieben?\" Gottschalk Burkhard, \"Senufo, Massa und die Statuen des poro\" 2002: 43; Glaze Anita J., \"Art and Death in a Senufo Village\", Indiana University Press, Bloomington 1981. A related eyemplare: Robert Goldwater, Senufo Sculpture from West Africa, New York, 1964, ills. 88 and 88a, Werner Gillon, Collecting African Art, London, 1979, p. 50, fig. 38 William Rubin, \"Primitivism\" in 20th Century Art: Affinity of the Tribal and the Modern, New York, 1984, vol. 1, p. 131 William Rubin, Le Primitivisme dans l’art du 20e siècle. Les artistes modernes devant l’art tribal, Paris, 1987, p. 131 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, L'art africain, Paris, 1988, p. 82, pl. 34, Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan (eds.), Die Kunst des Schwarzen Afrika, Freiburg, 1989, p. 80, pl. 34 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, Art of Africa, New York, 1993, p. 82, pl. 34 Mary H. Nooter, Secrecy: African Art that Conceals and Reveals, New York, 1993, p. 155, cat. 79.\u003cbr\u003eAccording to Gottschalk, who tried to make a typology of the Senufo Déblé, these exemplars would probably be submitted to the group of the kulibèlè and not the fonombèlè.\u003cbr\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003e\"While the former (fonombèlè), either because of a lack of ability for finer work (the fonombèlè are the blacksmiths in the Senufo society) or as a consciously used stylistic device, left the clear and powerful forms, the contrasting horizontals and verticals, largely as they were when they were defined\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eof the proportions, the kulibèlè (the traditional carvers) tried to ensure that the body parts flowed smoothly into one another, as long as they did not incorporate the style of their older brothers into their work or more or less copy it.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003eSource: Burkhard Gottschalk\u003cbr\u003e\u003cbr\u003eMore realistic sounds the opinion of Glaze, who described the difficulties of a stylistic typology according to both ethnic groups after she did fieldwork around kufulo (region of Dikodougou). Anita J. Glaze, 81.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eHeight: 117 cm\u003cbr\u003eWeight: 6,9 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396493816131,"sku":"XBD135644","price":1400.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135644.jpg?v=1715593649"},{"product_id":"nbsp-an-outstanding-female-senufo-rhythm-pounder","title":"An outstanding female Senufo Rhythm pounder","description":"\u003cp\u003e An outstanding female Senufo Rhythm pounder, called Déblé, Northern Ivory Coast, village Nafou - uprising from a cylindrical, oval, base with straight, shortened legs, the openwork arms carved beside a slender body with a small pointed navel, the columnar neck supporting a zoomorphic head with a protruding lower jaw, wearing a domed, single crested coiffure, scarification patterns at the body and around the navel, arms, neck and hip with reddish passions pearls on blackened latex; aged patina, the neck, the arms and the base of the statue with significant signs of use, the sculpture is still in the original condition like it was collected in situ. Authentic restoration at the cylindrical base of the sculpture. Normally the traces of use are washed off as soon as these objects arrive on the Western market.\u003cbr\u003e\u003cbr\u003eCertain stylistic similarities to the Senufo Pounder (90,5 cm) of the Musée Fabre, France\/ Museum Cleveland, Ohio, USA, which has softer and less antagonistic forms, It comes from the same region. Certificate of origin and provenance.\u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/senufo.pounder.deble.musee.fabre.jpg\" width=\"291\" height=\"482\" alt=\"Musée Fabre; Cleveland Museum; Wolfgang Jaenicke\"\u003e \u003cbr\u003e\u003cspan\u003e\u003cem\u003eSource: Susan Elisabeth Gagliardi, Cleveland Museum, Ohio, USA. \u003c\/em\u003eSenufo Unbound, pate 46\/47 (mostly well known is the \"Western Provenance\", in the description we read \"unknown artist\".\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003ePerhaps one could say that this is a postcolonial, Western view of Africa, because the makers of these sculptures do not see themselves as \"artists\" in Africa.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eThey are craftsmen, often blacksmiths, who, despite being integrated into village communities, usually live on the outskirts of the villages.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eLearning where these villages are and how the carvers influenced each other might say more about Africa than a \"family tree\" of Western owners.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eBut that would mean that anthropologists do field research in Africa instead of running museums that are under the influence of the art trade.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eAccording to Gottschalk, who tried to make a typolgy of the Senufo Déblé, these exemplares would probably be submitted to the group of the kulibèlè and not the fonombèlè.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e\"Während die ersteren (fonombèlè) entweder wegen mangelnder Fähigkeit zu feinerer Arbeit (the fonombèlè are the blacksmiths in the Senufo society) oder als bewußt eingesetztes Stilmittel die klaren und wuchtigen Formen, die kontrastierenden Waagerechten und Senkrechten weitgehend so beließen, wie sie bei der Festlegung der Proportionen entstanden waren, bemühten sich die kulibèlè (the traditional carver) um ein weiches Ineinanderfließen der Körperteile, soweit sie nicht den Stil ihrer älteren Brüder in ihre Arbeit aufnahmen oder ihn mehr oder weniger kopierten.\" Source: Burkhard Gottschalk\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eMore realistic sounds the opinion of Glaze, who described the difficulties of a stylistic typology according to both ethnic groups after she did fieldwork around kufulo (region of Dikodougou). Anita J. Glaze, 81.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/senufo.deble.northern.korhogo.jpg\" width=\"254\" height=\"465\" alt=\"\"\u003e\u003cbr\u003eA\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi524\/pages\/BSC00002.htm\"\u003eRhythmpounder\u003cspan\u003e \u003c\/span\u003e\u003c\/a\u003efrom the same region, also collected in the\u003cbr\u003eNafou region, which we sold three years ago.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eLit.: A lecture of Dr. Junker, \"der Originalzustand.. Wo ist er geblieben?\" Gottschalk Burkhard, \"Senufo, Massa und die Statuen des poro\" 2002: 43\u003c\/em\u003e\u003cem\u003e; Glaze Anita J., \"Art and Death in a Senufo Village\", Indiana University Press, Bloomington 1981.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eA related eyemplare: Robert Goldwater, Senufo Sculpture from West Africa, New York, 1964, ills. 88 and 88a, Werner Gillon, Collecting African Art, London, 1979, p. 50, fig. 38 William Rubin, \"Primitivism\" in 20th Century Art: Affinity of the Tribal and the Modern, New York, 1984, vol. 1, p. 131 William Rubin, Le Primitivisme dans l’art du 20e siècle. Les artistes modernes devant l’art tribal, Paris, 1987, p. 131 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, L'art africain, Paris, 1988, p. 82, pl. 34, Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan (eds.), Die Kunst des Schwarzen Afrika, Freiburg, 1989\u003cstrong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ep. 80, pl. 34 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, Art of Africa, New York, 1993, p. 82, pl. 34 Mary H. Nooter, Secrecy: African Art that Conceals and Reveals, New York, 1993, p. 155, cat. 79\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 139 cm\u003cbr\u003eWeight: 10 kg\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48780497781059,"sku":"XBD134030","price":2400.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD134030.jpg?v=1718619469"},{"product_id":"a-senufo-guardian-figure","title":"A Senufo guardian figure","description":"\u003cp\u003eA Senufo guardian figure, Ivory Coast, surmounted with a panel, in the center a stylized lizzard, collected in the Tingrela region, close to the border of Mali, fine blackened patina, partly shiny, traces of ritual use and age; provenance Belo Mohamed Garba, Korhogo.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eClose to the border to Mali, uprising from a cylindrical, slightly conical base, the slightly bent legs without feet, which suggests a more archaic type of this figure, the slender torso with a slightly arched belly and a pointed navel, the arms carved close to the torso, the shoulders rounded, a thick columnar neck supports an oval head with a protruding mouth and almond-shaped eyes, the cap-shaped hairstyle seems to represent a stylized bird head; the figure is characterized by an old touch patina, which suggests a longlasting ritual use, we are not quite sure whether it is a guardian figure or a rhythm pounder (Déblé). The size of the base allows both options. But usually Déblé are bigger and their purpose for funeral- ceremonies is different. According of Gottschalk Guardian sculptures are more rare than Rhythm-Pounders.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eMore realistic sounds the opinion of Glaze, who described the difficulties of a stylistic typology according of both ethnic groups after she did fieldwork around kufulo (region of Dikodougou).\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eBurkhard Gottschalk, Kunst aus Schwarz Afrika, Senufo, Unbekannte Schätze aus privaten Sammlungen, S.173, 174, Glaze Anita J., \"Art and Death in a Senufo Village\", Indiana University Press, Bloomington 1981\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003eHeight: 63 cm\u003cbr\u003eWeight: 900 g\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52319194906947,"sku":"XBD180713","price":900.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD180713.jpg?v=1737552108"},{"product_id":"a-senufo-maternity-sculpture-from-the-korhogo-region","title":"A Senufo maternity sculpture from the Korhogo region","description":"\u003cp\u003eA Senufo maternity sculpture, Ivory Coast, collected in the Korhogo region. Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“The sculpture is used to honour women and their maternal role in ceremonies and festivals of the tyekpa society, a social association among the Senufo peoples.\u003cbr\u003eThe tyekpa association functions in Senufo culture primarily as a funerary society. This sculpture is but one element of complex funerary celebrations that also include music, song, and dance. These elements come together to pay homage to and honour the memory of an elder tyekpa \"mother.\" During the ceremonies, tyekpa members dance with various figurative sculptures such as this mother-child pairing raised high above their head. Due to its prominent visual display in the funerary proceedings, tyekpa figurative sculptures are rather large, some measuring three to four feet in height; this piece is nearly two feet tall.\u003cbr\u003e\"The Senufo peoples form a complex network comprising more than thirty subgroups with many local variations of language and custom. They occupy a large area of West Africa that spans the national boundaries of Côte d'Ivoire, Mali, and Burkina Faso. Senufo society is patriarchal; inheritance, however, is traced through the matrilineal line. Consequently, the primacy placed on women and their essential maternal role is often reflected in Senufo artistic traditions like this sculpture. The tyekpa association is part of a larger social organization among the Senufo known as Sandogo. Membership in Sandogo is limited to female members of the Senufo community. Senufo life revolves around the Sandogo society and its counterpart, the all-male Poro society. These institutions cut across kinship lines and household ties, creating a social cohesiveness that extends throughout the community..\" Source.:The MET\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 43 cm\u003cbr\u003eWeight: 340 g\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52319570657603,"sku":"XBD180945","price":1200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD180945.jpg?v=1737554031"},{"product_id":"a-senufo-degele-mask","title":"A Senufo Degele mask","description":"\u003cp\u003eA Senufo Degele mask, Ivory Coast, collected in the Boundiali region. Light wood, signs of use and age. Certificate of origin and provenance.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe meaning of the mask can vary.\u003cbr\u003eIt can be for Spiritual Symbolism: The Degele mask often embodies connections to the spiritual world. It is believed to house spirits that protect and guide the community. The mask typically symbolizes forces of nature, ancestors, or deities, acting as an intermediary between humans and the spiritual realm.\u003cbr\u003e\u003cbr\u003eFor social identity: Degele masks often reflect Senufo cultural identity and beliefs. They may feature designs representing animals or composite creatures, symbolizing strength, wisdom, or other valued traits. Symbol of Authority: These masks may also signify power and authority within the community, especially when used in rites related to leadership or communal decision-making.\u003cbr\u003e\u003cbr\u003eFor ritual and ceremonial functions: The Degele mask is primarily used in initiation rites, particularly those involving the Poro society, a male secret society central to Senufo culture. This society trains young men in the spiritual and cultural values of the Senufo. The mask plays a role in guiding initiates through their spiritual transformation and imparting sacred knowledge.\u003cbr\u003e\u003cbr\u003eFor funerals and commemorations: The mask is used in funeral ceremonies to honor the deceased and ensure their safe passage to the ancestral world. It is believed to protect the community from malevolent spirits during this vulnerable time.\u003cbr\u003e\u003cbr\u003eFor community protection: Beyond funerals and initiation rites, the mask may be displayed or used in performances to ward off evil spirits or misfortune, ensuring the community's well-being.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/Senufo%20Degele%20mask,%20Ivory%20Coast.png\" width=\"353\" height=\"459\" alt=\"\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eBurkhard Gottschanlk, Senufo Massa und die Statuen des Poro, 2002\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\"A use as a snap mask or head attachment 3). The first pair of these rare degélé headrests brought Maesen to Europe in 1939, but without being able to give a name for them. Holas mentions it for the first time in 1957 for a couple now in the Museum Rietberg. Storrer acquired it in Africa in the early 1950s, together with the single copy from the Barbier Mueller collection. The traditional use of these head attachments is said to have been limited (according to Bochet and Glaze) to only one language group of the central territory.\"\u003cbr\u003e\u003cbr\u003eSource: Burkhard Gottschanlk, Senufo Massa und die Statuen des Poro, 2002\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 103 cm\u003cbr\u003eWeight: 2,9 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52322030190915,"sku":"XBD181273","price":900.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD181273.jpg?v=1737563364"},{"product_id":"a-senufo-rhythmpounder-called-deble-1","title":"A Senufo Rhythmpounder, called Déblé.","description":"\u003cp\u003eA Senufo Rhythmpounder, called Déblé, Boundiali region, Cote d'Ivoire. Signs of ritual use; Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThese large-scale statue are a very rare work of art among the Senufo, institutional style of professional sculpture, yet on some special occasions large works of art were commissioned by the male Poro society and also by their female counter equivalent society, the Tyekpa society. In the case of the Poro society, large statues of pairs were placed on public display near wooden shrines or shelters where the chosen society’s initiators gathered to celebrate and organize special events and funerals. The Poro society would commission statues such as this one to be carried and used in ritual processions or placed on the ground to serve as a focus point for the ceremonial dancers.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThese statues might have also functioned as a large fetish figure or shrine-powered object to which ritual sacrifices were made on the statue. This type of sculpture was used in various ritual functions that would have taken place right before or after a Poro elder member died. The statue would have been carried by initiators of the Poro society who would visit the home of the deceased where sometimes the statue may have been placed beside the corpse of the deceased and covered in a shroud and shown to the public. The statue would then be carried in the funeral procession and accompanied the deceased to their burial place. There it was swung and pounded on the ground around the grave in a rhythmic manner in synchronized time to the music of the Poro society orchestra.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhen the ceremony was complete and before nightfall, the grave was covered with soil as one of the Poro society’s members would perform the final gesture with the statue, leaping onto the grave and pounding the soil seven times. This pounding is to ensure that the spirit of the deceased person didn’t linger in the vicinity of the village compound.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eSource: Brauer Museum of Art.\u003c\/p\u003e\n\u003cp\u003eHeight: 123 cm\u003cbr\u003eWeight: 6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52603571044675,"sku":"XBD183798","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD183798.jpg?v=1739959168"},{"product_id":"a-senufo-rhythmpounder-called-deble-2","title":"A Senufo Rhythmpounder, called Déblé.","description":"\u003cp\u003eA Senufo Rhythmpounder, called Déblé, Cote d'Ivoire. Signs of ritual use; Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThese large-scale statue are a very rare work of art among the Senufo, institutional style of professional sculpture, yet on some special occasions large works of art were commissioned by the male Poro society and also by their female counter equivalent society, the Tyekpa society. In the case of the Poro society, large statues of pairs were placed on public display near wooden shrines or shelters where the chosen society’s initiators gathered to celebrate and organize special events and funerals. The Poro society would commission statues such as this one to be carried and used in ritual processions or placed on the ground to serve as a focus point for the ceremonial dancers.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThese statues might have also functioned as a large fetish figure or shrine-powered object to which ritual sacrifices were made on the statue. This type of sculpture was used in various ritual functions that would have taken place right before or after a Poro elder member died. The statue would have been carried by initiators of the Poro society who would visit the home of the deceased where sometimes the statue may have been placed beside the corpse of the deceased and covered in a shroud and shown to the public. The statue would then be carried in the funeral procession and accompanied the deceased to their burial place. There it was swung and pounded on the ground around the grave in a rhythmic manner in synchronized time to the music of the Poro society orchestra.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhen the ceremony was complete and before nightfall, the grave was covered with soil as one of the Poro society’s members would perform the final gesture with the statue, leaping onto the grave and pounding the soil seven times. This pounding is to ensure that the spirit of the deceased person didn’t linger in the vicinity of the village compound.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eSource: Brauer Museum of Art.\u003c\/p\u003e\n\u003cp\u003eHeight: 120 cm\u003cbr\u003eWeight: 11,8 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52603619508547,"sku":"XBD183830","price":1100.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD183830.jpg?v=1739959518"},{"product_id":"a-senufo-sculpture","title":"A Senufo sculpture","description":"\u003cp\u003eA Senufo sculpture, collected in the Korhogo region of Ivory Coast. Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThese sculptures - kown under the name deble -is one of the most famous works of West African Art. After the early 1960th, when the Massa-movement destroyed most of the important Senufo objects, only a few old, authentic Rhythm Pounder were saved and came to Western world. There are no sculptures from the time before 1960 existing anymore in the Senufo region of Ivory Coast, Burkina and Mali. But in some rural regions the old animistic tradition is still existing and also the funeral ceremonies, in which the deble rhythm pounder has it´s ritual function. There are differences in the ceremonies in comparison to the years before 1960. In particular the holy groves, doesn´t exist anymore or arn´t known by Western ethnologists. It were secret fields, where the Senufo placed their ritual sculptures in the forest.These precious objects would probably be stolen immediately, because in nearly every village the Islamic influence becomes stronger and there are more people, who are against the old animistic tradion than decades before. Now these objects are protected in huts close to the village. The patina is different than the old sculptures, because they aren´t exposed the weather anymore, even the traces of use are the same. According of the last owner this sculpture comes from the Northern part of the Senufo region, around Koutiala and was a \"replacement\" sculpture, which were used several years during funeral ceremonies before it was sold to an antique-dealer near Sikasso. To carve a sculpture like this requires a skilled craftman with a high degree of the old traditional knowledge. The statics is perfect (at the photo from the frontside the statue is a little bit bent, because of the camera-focus), but not in reality, no considerable age-crack, extremly hard wood, an incredibile technical skill must be the base for the purpose of this statue: to pound this fragile but heavy sculpture rhythmically on the ground.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHomberger, Lorenz (Katalog) Die Kunst der Senufo aus Schweizer Sammlungen. Texte: Till Förster, Objektfotos: Wettsein+Kauf Zürich, Museum Rietberg, 1988, Koloss, Hans-Joachim; Förster, Till, Die Kunst der Senufo, Elfenbeinküste, 1979. Museum für Völkerkunde, Berlin, Burkhard Gottschalk Senoufo. Massa et les Statues du Poro, Düsseldorf: Verlag U. Gottschalk, 2002.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEnquire.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 68 cm\u003cbr\u003eWeight: 2,8 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":53149768614211,"sku":"DSC00763","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/DSC00763.jpg?v=1747398234"},{"product_id":"a-senufo-rhythmpounder","title":"A Senufo Rhythmpounder","description":"\u003cp\u003eA Senufo Rhythmpounder - called Deblé - Sikasso region.\u003c\/p\u003e\n\u003cp\u003eA Senufo rhythm pounder, known as a Déblé, is a ceremonial sculpture used in the rituals of the Poro society among the Senufo people of West Africa, particularly in the Sikasso region of Mali. These figures are integral to various rites, including initiations, agricultural ceremonies, and funerals. During funerals, the Déblé is held by the elbows and rhythmically pounded on the earth, producing a dull sound that invites the souls of deceased ancestors to participate in the ceremonies and purifies the earth.\u003c\/p\u003e\n\u003cp\u003eThe Déblé sculptures are characterized by their stylized and abstract forms, often featuring elongated torsos, slender limbs, and distinctive facial features. The face typically displays minimalistic features, with incised lines representing eyes, nose, and mouth. The body may exhibit scarification patterns, and the figures often have elaborate coiffures or headgear. The sculptures are crafted from dense hardwoods and are polished to a lustrous patina, reflecting their ritual significance and the reverence with which they are treated.\u003c\/p\u003e\n\u003cp\u003eIn the Sikasso region, these sculptures are particularly noted for their unique stylistic elements. For instance, a notable piece from this region features a cylindrical base, short legs, an elongated torso with radial scarification marks around the navel, and a head with a flat nose and stylized facial features. The ears are designed as rings with deepening centers, adorned with cowrie shells, indicative of the region's distinctive artistic style.\u003c\/p\u003e\n\u003cp\u003eThe Déblé serves not only as a ritual object but also as a symbol of the Senufo people's connection to the spiritual world, embodying ancestral presence and cultural identity. Source: Chat GPT\u003c\/p\u003e\n\u003cp\u003eLit.: A lecture of Dr. Junker, \"der Originalzustand.. Wo ist er geblieben?\" Gottschalk Burkhard, \"Senufo, Massa und die Statuen des poro\" 2002: 43; Glaze Anita J., \"Art and Death in a Senufo Village\", Indiana University Press, Bloomington 1981. A related eyemplare: Robert Goldwater, Senufo Sculpture from West Africa, New York, 1964, ills. 88 and 88a, Werner Gillon, Collecting African Art, London, 1979, p. 50, fig. 38 William Rubin, \"Primitivism\" in 20th Century Art: Affinity of the Tribal and the Modern, New York, 1984, vol. 1, p. 131 William Rubin, Le Primitivisme dans l’art du 20e siècle. Les artistes modernes devant l’art tribal, Paris, 1987, p. 131 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, L'art africain, Paris, 1988, p. 82, pl. 34, Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan (eds.), Die Kunst des Schwarzen Afrika, Freiburg, 1989, p. 80, pl. 34 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, Art of Africa, New York, 1993, p. 82, pl. 34 Mary H. Nooter, Secrecy: African Art that Conceals and Reveals, New York, 1993, p. 155, cat. 79.\u003c\/p\u003e\n\u003cp\u003eAccording to Gottschalk, who tried to make a typolgy of the Senufo Déblé, these exemplares would probably be submitted to the group of the kulibèlè and not the fonombèlè.\u003cbr\u003e\"While the former (fonombèlè), either because of a lack of ability for finer work (the fonombèlè are the blacksmiths in the Senufo society) or as a consciously used stylistic device, left the clear and powerful forms, the contrasting horizontals and verticals, largely as they were when they were defined of the proportions, the kulibèlè (the traditional carvers) tried to ensure that the body parts flowed smoothly into one another, as long as they did not incorporate the style of their older brothers into their work or more or less copy it.\" Source: Burkhard Gottschalk.\u003c\/p\u003e\n\u003cp\u003eMore realistic sounds the opinion of Glaze, who described the difficulties of a stylistic typology according to both ethnic groups after she did fieldwork around kufulo (region of Dikodougou). Anita J. Glaze, 81.\u003c\/p\u003e\n\u003cp data-start=\"636\" data-end=\"714\"\u003eMuseums: \u003ca href=\"https:\/\/www.brooklynmuseum.org\/objects\/116641\"\u003eBrooklyn Museum\u003c\/a\u003e, \u003ca href=\"https:\/\/artgallery.yale.edu\/collections\/objects\/84261\"\u003eYale University Art Gallery\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003eAuctionhouses: \u003ca href=\"https:\/\/www.christies.com\/en\/lot\/lot-5807813\"\u003eChristies\u003c\/a\u003e, \u003ca href=\"https:\/\/www.sothebys.com\/en\/auctions\/ecatalogue\/2018\/arts-dafrique-et-docanie-pf1808\/lot.30.html\"\u003eSothebys\u003c\/a\u003e, \u003ca href=\"https:\/\/www.dorotheum.com\/en\/l\/5227991\/\"\u003eDorotheum\u003c\/a\u003e, \u003ca href=\"https:\/\/www.lempertz.com\/en\/catalogues\/lot\/1054-1\/84-a-senufo-poro-altar-figure.html\"\u003eLempertz\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-start=\"636\" data-end=\"714\"\u003ePrivate Galleries: \u003ca href=\"https:\/\/www.randafricanart.com\/Senufo_rhythm_pounder.html\"\u003eRand African Art\u003c\/a\u003e, \u003ca href=\"https:\/\/wolfgang-jaenicke.com\/products\/a-female-senufo-rhytmpounder-called-deble?_pos=24\u0026amp;_sid=9ecba6c68\u0026amp;_ss=r\"\u003eWolfgang Jaenicke\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-start=\"636\" data-end=\"714\"\u003ewj\u003c\/p\u003e\n\u003cp data-start=\"636\" data-end=\"714\"\u003eHeight: 93 cm\u003cbr\u003eWeight: 8,1 kg\u003c\/p\u003e\n\u003cp data-start=\"636\" data-end=\"714\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/senufo.deble.northern.korhogo.jpg\" width=\"254\" height=\"465\" alt=\"\"\u003e\u003cbr\u003eA \u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi524\/pages\/BSC00002.htm\"\u003eRhythmpounder \u003c\/a\u003efrom the same region, also collected in the Nafou region, which we sold three years ago.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/senufo.pounder.deble.musee.fabre.jpg\" width=\"291\" height=\"482\" alt=\"Musée Fabre; Cleveland Museum; Wolfgang Jaenicke\"\u003e \u003cbr\u003e\u003cbr\u003e\u003cem\u003eSource: Susan Elisabeth Gagliardi,Cleveland Museum, Ohio, USA. \u003c\/em\u003eSenufo Unbound, pate 46\/47 (mostly wellknown is the \"Western Provenance\" ,in the description we read \"unknown artist\".\u003cspan\u003ePerhaps one could say that this is a postcolonial, Western view of Africa, because the makers of these sculptures do not see themselves as \"artists\" in Africa.\u003c\/span\u003e \u003cspan\u003eThey are craftsmen, often blacksmiths, who, despite being integrated into village communities, usually live on the outskirts of the villages.\u003c\/span\u003e \u003cspan\u003eLearning where these villages are and how the carvers influenced each other might say more about Africa than a \"family tree\" of Western owners.\u003c\/span\u003e \u003cspan\u003eBut that would mean that anthropologists do field research in Africa instead of running museums that are under the influence of the art trade.\u003c\/span\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":53150064738627,"sku":"CAB01534","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/CAB01534.jpg?v=1747400462"},{"product_id":"a-small-senufo-sculpture","title":"A small Senufo sculpture","description":"\u003cp\u003eA small Senufo sculpture, Northern Ivory Coast, collected in the Southern Korhogo region.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eProvenance: On request\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eSenufo sculpture from the Southern Korhogo region in northern Côte d'Ivoire (Ivory Coast) is a highly esteemed form of West African art. The Senufo people are renowned for their woodcarving traditions, which are deeply rooted in spiritual, ritualistic, and social functions. Senufo \"bowlkeeper\" sculptures—also known as bowl-bearer or bowl-holder figures—are a distinctive form of ritual art from the Senufo people of northern Côte d’Ivoire, particularly the Korhogo region. These figures typically depict a female figure carrying a bowl on her head or hands, symbolizing offerings, ancestral communication, or spiritual receptacles.\u003c\/p\u003e\n\u003cp\u003eThese sculptures are not merely decorative but serve as conduits between the physical and spiritual realms in Senufo culture. Their presence in various art markets underscores their cultural significance and the appreciation they garner among collectors and scholars alike.\u003c\/p\u003e\n\u003cp data-start=\"149\" data-end=\"305\"\u003eIn Senufo society, bowlkeeper figures are believed to serve as intermediaries between the physical and spiritual realms. The bowls they carry are thought to hold offerings or sacred substances used in rituals associated with the Poro Society, a central institution governing initiation, education, and social order among the Senufo. These sculptures embody ideals of femininity, fertility, and the nurturing aspects of womanhood, reflecting the community's reverence for ancestral spirits and the natural world.\u003c\/p\u003e\n\u003cp data-start=\"149\" data-end=\"305\"\u003eAuction results: \u003ca href=\"https:\/\/www.dorotheum.com\/en\/l\/8605108\/\"\u003eDorotheum\u003c\/a\u003e, \u003ca href=\"https:\/\/www.artkhade.com\/en\/object\/M9n8aGvH\/a-senufo-figure-ivory-coast\"\u003eArtkahade, \u003c\/a\u003e\u003ca href=\"https:\/\/www.sothebys.com\/en\/buy\/auction\/2022\/art-of-africa-oceania-and-the-americas\/senufo-bowl-bearer-figure-cote-divoire\"\u003eSotheby\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003eSocial media: I\u003ca href=\"https:\/\/www.instagram.com\/galerie.wolfgang.jaenicke\/reels\/\"\u003enstagram\u003c\/a\u003e\u003c\/p\u003e\n\u003cp data-start=\"149\" data-end=\"305\"\u003ewj\u003c\/p\u003e\n\u003cp data-start=\"149\" data-end=\"305\"\u003e\u003cem\u003e\u003cstrong\u003ePrice on request.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"149\" data-end=\"305\"\u003eHeight: 40 cm\u003cbr\u003eWeight: 430 g\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":53165009600835,"sku":"CAB02145","price":421.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/CAB02145.jpg?v=1747672147"},{"product_id":"a-senufo-bowl-keeper-sculpture","title":"A Senufo “bowl keeper” sculpture","description":"\u003cp\u003eA Senufo “bowl keeper” sculpture, Cote d’Ivoire. Signs or ritual use and age. Certificate of origin and provenance.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe Senufo people are renowned for their woodcarving traditions, which are deeply rooted in spiritual, ritualistic, and social functions. Senufo \"bowlkeeper\" sculptures—also known as bowl-bearer or bowl-holder figures—are a distinctive form of ritual art from the Senufo people of northern Côte d’Ivoire, particularly the Korhogo region. These figures typically depict a female figure carrying a bowl on her head or hands, symbolizing offerings, ancestral communication, or spiritual receptacles.\u003cbr\u003eThese sculptures are not merely decorative but serve as conduits between the physical and spiritual realms in Senufo culture. Their presence in various art markets underscores their cultural significance and the appreciation they garner among collectors and scholars alike.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIn Senufo society, bowlkeeper figures are believed to serve as intermediaries between the physical and spiritual realms. The bowls they carry are thought to hold offerings or sacred substances used in rituals associated with the Poro Society, a central institution governing initiation, education, and social order among the Senufo. These sculptures embody ideals of femininity, fertility, and the nurturing aspects of womanhood, reflecting the community's reverence for ancestral spirits and the natural world.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003ePrice on request.\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 33 cm\u003cbr\u003eWeight: 340 g\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":53214027350339,"sku":"CAB03671","price":181.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/CAB03671.jpg?v=1748447605"},{"product_id":"a-senufo-kpelie-mask-1","title":"A Senufo Kpelie Mask","description":"\u003cp\u003eA Senufo Kpelie Mask, Cote d’Ivoire. signs of ritual use. Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Throughout the twentieth century, members of poro, a Senufo initiation association, wore small, finely carved face masks as insignia. The masks, known as kpeliye'e, feature delicate oval faces with geometric projections at the sides. Raised and incised scarification patterns ornament their smooth, glossy surfaces. Considered feminine, the masks honor deceased Senufo elders with their grace and beauty. They provide a complement to the aggressive Senufo helmet masks also sponsored by fraternal organizations in the region. The feathers and animal horns attached to this example are unusual, and may have reflected its owner's power to counteract negative forces in the community.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSource: The Met.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 34 cm without stand\u003cbr\u003eWeight: 0,9 kg \u003cspan style=\"text-align: left;\"\u003e\u003c\/span\u003e incl. stand\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":53237656912195,"sku":"CAB03869","price":600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/CAB03869.jpg?v=1748947299"},{"product_id":"an-oustanding-female-senufo-rhythmponder","title":"An oustanding female Senufo Rhythmponder","description":"\u003cp\u003eAn oustanding female Senufo Rhythmponder, called Déblé, Northern Ivory Coast, village Nafou - uprising from a cylindrical, oval, base with straight, shortened legs, the openwork arms carved beside a slender body with a small pointed navel, the columnar neck supporting a zoomorphic head with a protruding lower jaw, wearing a domed, single crested coiffure, scarification patterns at the body and around the navel, arms, neck and hip with reddish passions pearls on blackened latex; aged patina, the neck, the arms and the base of the statue with significant signs of use, the sculpture is still in the original condition like it was collected in situ. Authentic restoration at the cylindrical base of the sculpture. Normally the traces of use are washed off as soon as these objects arrive on the Western market.\u003c\/p\u003e\n\u003cp\u003eCertain stylisic similarity to the Senufo Pounder (90,5 cm) of the Musée Fabre, France\/ Museum Cleveland, Ohio, USA, which has softer and less antagonistic forms, It comes from the same region. \u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/senufo.pounder.deble.musee.fabre.jpg\" width=\"291\" height=\"482\" alt=\"Musée Fabre; Cleveland Museum; Wolfgang Jaenicke\"\u003e \u003cbr\u003e\u003cbr\u003e\u003cem\u003eSource: Susan Elisabeth Gagliardi,Cleveland Museum, Ohio, USA.\u003c\/em\u003eSenufo Unbound, pate 46\/47 (mostly wellknown is the \"Western Provenance\" ,in the description we read \"unknown artist\".\u003cspan\u003ePerhaps one could say that this is a postcolonial, Western view of Africa, because the makers of these sculptures do not see themselves as \"artists\" in Africa.\u003c\/span\u003e \u003cspan\u003eThey are craftsmen, often blacksmiths, who, despite being integrated into village communities, usually live on the outskirts of the villages.\u003c\/span\u003e \u003cspan\u003eLearning where these villages are and how the carvers influenced each other might say more about Africa than a \"family tree\" of Western owners.\u003c\/span\u003e \u003cspan\u003eBut that would mean that anthropologists do field research in Africa instead of running museums that are under the influence of the art trade.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eLit.: A lecture of Dr. Junker, \"der Originalzustand.. Wo ist er geblieben?\" Gottschalk Burkhard, \"Senufo, Massa und die Statuen des poro\" 2002: 43\u003c\/em\u003e\u003cem\u003e; Glaze Anita J., \"Art and Death in a Senufo Village\", Indiana University Press, Bloomington 1981.\u003c\/em\u003e \u003cem\u003eA related eyemplare: Robert Goldwater, Senufo Sculpture from West Africa, New York, 1964, ills. 88 and 88a, Werner Gillon, Collecting African Art, London, 1979, p. 50, fig. 38 William Rubin, \"Primitivism\" in 20th Century Art: Affinity of the Tribal and the Modern, New York, 1984, vol. 1, p. 131 William Rubin, Le Primitivisme dans l’art du 20e siècle. Les artistes modernes devant l’art tribal, Paris, 1987, p. 131 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, L'art africain, Paris, 1988, p. 82, pl. 34, Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan (eds.), Die Kunst des Schwarzen Afrika, Freiburg, 1989\u003cstrong\u003e, \u003c\/strong\u003ep. 80, pl. 34 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, Art of Africa, New York, 1993, p. 82, pl. 34 Mary H. Nooter, Secrecy: African Art that Conceals and Reveals, New York, 1993, p. 155, cat. 79\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eAccording to Gottschalk, who tried to make a typolgy of the Senufo Déblé, these exemplares would probably be submitted to the group of the kulibèlè and not the fonombèlè.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e\"Während die ersteren (fonombèlè) entweder wegen mangelnder Fähigkeit zu feinerer Arbeit (the fonombèlè are the blacksmiths in the Senufo society) oder als bewußt eingesetztes Stilmittel die klaren und wuchtigen Formen, die kontrastierenden Waagerechten und Senkrechten weitgehend so beließen, wie sie bei der Festlegung der Proportionen entstanden waren, bemühten sich die kulibèlè (the traditional carver) um ein weiches Ineinanderfließen der Körperteile, soweit sie nicht den Stil ihrer älteren Brüder in ihre Arbeit aufnahmen oder ihn mehr oder weniger kopierten.\" Source: Burkhard Gottschalk\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eMore realistic sounds the opinion of Glaze, who described the difficulties of a stylistic typology according to both ethnic groups after she did fieldwork around kufulo (region of Dikodougou). Anita J. Glaze, 81.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/senufo.deble.northern.korhogo.jpg\" width=\"254\" height=\"465\" alt=\"\"\u003e\u003cbr\u003eA \u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi524\/pages\/BSC00002.htm\"\u003eRhythmpounder \u003c\/a\u003efrom the same region, also collected in the Nafou region, which we sold three years ago.\u003c\/p\u003e\n\u003cp\u003eHeight: 110 cm\u003cbr\u003eWeight: 9,5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":53243519828291,"sku":"XBD179831","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179831.jpg?v=1749042414"},{"product_id":"a-senufo-rhythmpounder-1","title":"A Senufo Rhythmpounder","description":"\u003cp\u003eA Senufo Rhythmpounder, called Deblé, collected in the Boundiali region, Mali. Signs of ritual use and age. Certificate of origin and provenance.\u003cbr\u003e\u003cem\u003e\u003cbr\u003eThis type of sculptures - kown under the name deble - is one of the most famous works of West African Art. After the early 1960th, when the Massa-movement destroyed most of the important Senufo objects, only a few old, authentic Rhythm Pounder were saved and came to Western world. There are no sculptures from the time before 1960 existing anymore in the Senufo region of Ivory Coast, Burkina and Mali. But in some rural regions the old animistic tradition is still existing and also the funeral ceremonies, in which the deble rhythm pounder has it´s ritual function. There are differences in the ceremonies in comparison to the years before 1960. In particular the holy groves, doesn´t exist anymore or arn´t known by Western ethnologists. It were secret fields, where the Senufo placed their ritual sculptures in the forest.These precious objects would probably be stolen immediately, because in nearly every village the Islamic influence becomes stronger and there are more people, who are against the old animistic tradtiion than decades before. Now these objects are protected in huts close to the village.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHomberger, Lorenz (Katalog) Die Kunst der Senufo aus Schweizer Sammlungen. Texte: Till Förster, Objektfotos: Wettsein+Kauf Zürich, Museum Rietberg, 1988, Koloss, Hans-Joachim; Förster, Till, Die Kunst der Senufo, Elfenbeinküste, 1979. Museum für Völkerkunde, Berlin, Burkhard Gottschalk Senoufo. Massa et les Statues du Poro, Düsseldorf: Verlag U. Gottschalk, 2002.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 130 cm\u003cbr\u003eWeight: 11,5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":53243805827395,"sku":"XBD189131","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD189131.jpg?v=1749045772"},{"product_id":"a-deble-rhythm-pounder","title":"A Deble rhythm pounder","description":"\u003cp\u003eA Deble rhythm pounder, Senufo, Bondiali region, Ivory Coast.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e“\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003eThese large-scale statue are a very rare work of art among the Senufo, institutional style of professional sculpture, yet on some special occasions large works of art were commissioned by the male Poro society and also by their female counter equivalent society, the Tyekpa society. In the case of the Poro society, large statues of pairs were placed on public display near wooden shrines or shelters where the chosen society’s initiators gathered to celebrate and organize special events and funerals. The Poro society would commission statues such as this one to be carried and used in ritual processions or placed on the ground to serve as a focus point for the ceremonial dancers.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThese statues might have also functioned as a large fetish figure or shrine-powered object to which ritual sacrifices were made on the statue. This type of sculpture was used in various ritual functions that would have taken place right before or after a Poro elder member died. The statue would have been carried by initiators of the Poro society who would visit the home of the deceased where sometimes the statue may have been placed beside the corpse of the deceased and covered in a shroud and shown to the public. The statue would then be carried in the funeral procession and accompanied the deceased to their burial place. There it was swung and pounded on the ground around the grave in a rhythmic manner in synchronized time to the music of the Poro society orchestra.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhen the ceremony was complete and before nightfall, the grave was covered with soil as one of the Poro society’s members would perform the final gesture with the statue, leaping onto the grave and pounding the soil seven times. This pounding is to ensure that the spirit of the deceased person didn’t linger in the vicinity of the village compound.”\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eSource: Brauer Museum of Art.\u003c\/p\u003e\n\u003cp\u003eHeight: 110 cm\u003cbr\u003eWeight: 7,5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":53248415170883,"sku":"XBD162532","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD162532.jpg?v=1749127738"},{"product_id":"a-female-senufo-rhythm-pounder-called-debele","title":"A female Senufo Rhythm pounder - called Débéle","description":"\u003cp\u003eA female Senufo Rhythm pounder - called Débéle - Mali, Sikasso region,,  uprising from a cylindrical, oval, base with straight, shortened legs, the openwork arms carved beside a slender body with a small pointed navel, wide shoulders, the columnar neck supporting a zoomorphic head with a protruding lower jaw, wearing a domed, single crested coiffure, scarification patterns at the body and around the navel; aged patina, the neck, the arms and the base of the statue with significant signs of a touch patina, the sculpture is still in the original condition like it was collected in situ. Normally these traces of use are washed off as soon as these objects arrive on the Western market.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eLit.: A lecture of Dr. Junker, \"der Originalzustand.. Wo ist er geblieben?\" Gottschalk Burkhard, \"Senufo, Massa und die Statuen des poro\" 2002: 43; Glaze Anita J., \"Art and Death in a Senufo Village\", Indiana University Press, Bloomington 1981. A related eyemplare: Robert Goldwater, Senufo Sculpture from West Africa, New York, 1964, ills. 88 and 88a, Werner Gillon, Collecting African Art, London, 1979, p. 50, fig. 38 William Rubin, \"Primitivism\" in 20th Century Art: Affinity of the Tribal and the Modern, New York, 1984, vol. 1, p. 131 William Rubin, Le Primitivisme dans l’art du 20e siècle. Les artistes modernes devant l’art tribal, Paris, 1987, p. 131 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, L'art africain, Paris, 1988, p. 82, pl. 34, Jacques Kerchache, Jean-Louis Paudrat, and Lucien Stéphan (eds.), Die Kunst des Schwarzen Afrika, Freiburg, 1989, p. 80, pl. 34 Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, Art of Africa, New York, 1993, p. 82, pl. 34 Mary H. Nooter, Secrecy: African Art that Conceals and Reveals, New York, 1993, p. 155, cat. 79.\u003cbr\u003eAccording to Gottschalk, who tried to make a typolgy of the Senufo Déblé, these exemplares would probably be submitted to the group of the kulibèlè and not the fonombèlè.\u003cbr\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003e\"While the former (fonombèlè), either because of a lack of ability for finer work (the fonombèlè are the blacksmiths in the Senufo society) or as a consciously used stylistic device, left the clear and powerful forms, the contrasting horizontals and verticals, largely as they were when they were defined\u003c\/span\u003e \u003cspan\u003eof the proportions, the kulibèlè (the traditional carvers) tried to ensure that the body parts flowed smoothly into one another, as long as they did not incorporate the style of their older brothers into their work or more or less copy it.\"\u003c\/span\u003e\u003c\/span\u003e Source: Burkhard Gottschalk.\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003eMore realistic sounds the opinion of Glaze, who described the difficulties of a stylistic typology according to both ethnic groups after she did fieldwork around kufulo (region of Dikodougou). Anita J. Glaze, 81.\u003c\/p\u003e\n\u003cp\u003eHeight: 124 cm\u003cbr\u003eWeight: 12,5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":53248489488707,"sku":"XBD162973","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD162973.jpg?v=1749128225"},{"product_id":"a-large-dogon-ancestor","title":"A large Dogon ancestor","description":"\u003cp\u003eA large Dogon ancestor sculpture of the Bombu-Toro type, Southern Cliff, probably from the Yugo villages, standing on a rectangular, rounded base, large feet with carved toes, the bent legs ending in prominent buttocks, the slender torso with carved vertical scarifications, the conical breasts protruding, the elongated arms slightly bent, the hands decreasing to the knees, the cylindrical neck surmounted by a helmet shaped head with a comblike middleridge and striaited pigtails close to the ears and at the back, the fine fascial features with small, bulging button-eyes with oxidised iron pupils, the nose arrow-shaped with flaring nostrils; several insect damages, remnants of a kaolin sacrification, heavy, hard wood with significant signs of age and erosion, it is the first time we saw a Dogon sculpture of the Bombu-Toro type with a kaolin sacrification-patina.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Dogon art presents a broad range of object types and styles. Among the human figures alone, some are well over life-size, while others are barely a few inches in height. Their repertoire of gestures is also varied, and includes figures standing, kneeling, sitting, or riding, raising one or both arms in a variety of poses, and holding or wearing articles related to their gender, age, occupation, or social status. In style they vary from full-volumed, sensitively modeled sculptures that are highly descriptive in their details to works that are reduced to abstract geometric shapes stripped of all but the barest references to human anatomy. The surfaces of Dogon sculptures also suggest that they are treated in a variety of ways and may therefore have a range of meanings. While some works are smooth, oiled, and polished, others are thickly coated with sacrificial materials, sometimes to the point of obscuring their sculptural form. The range of styles and imagery seen in Dogon sculpture suggests that they embody richer and more varied references than the simple identification as images of Nommo would encompass. Even if the ultimate meaning of Dogon art depends upon the concept of Nommo, as Griaule and Dieterlen and their followers propose, this meaning an only be enriched by adding to it the many other levels of meaning that arise from the particular settings in which the objects are located.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Dogon place wood figures depicting men and women on many different kinds of altars, most of which are dedicated to ancestors, either real or mythical. Although figurative sculptures, called dege, are perhaps the most interesting types of Dogon art, varied in form and rich in imagery, they are also among the least well documented. Few altars have been described in detail or illustrated; those that have been described do not suggest any consistent pattern linking a particular style of figure or a specific posture or gesture with any one kind of altar. There is also little information with which to identify the persons represented by the figures.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe characteristics of this (Bomu-Toro) style are: no fascial scarifications; simple lines, even stark volumes; no realistic traits, everything being geometrically defined; arrow-shapes nose with flaring nostrils; button- or lozenge-shaped eyes; no prognathism but a beard and lip plug; hairstyle in form of a crest for ancestor statues; ornaments such as jewelery, especially sculpted bracelets and earings added on (note that the anklets were exclusvely reserved for the Hogon), contrary to the statues of many other ethnic groups, the mouths are always closed.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHélèn Leloup, Dogon Statuary, 1995; plate 74 - 97, page 159\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAuctionhouse results:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e:\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi795\/pages\/PC076619.htm#\"\u003eSothebys\u003c\/a\u003e, \u003ca href=\"https:\/\/www.sothebys.com\/en\/auctions\/ecatalogue\/2012\/africanoceanic-n08858\/lot.71.html\"\u003eSothebys\u003c\/a\u003e, \u003ca href=\"https:\/\/www.capitoliumart.com\/en\/auction\/auction-390-africa-oceania-and-america-arte-africana-oceanica-e-delle-americhe-online\/xau-346\"\u003eCasa d´Asta Captolium Art, \u003c\/a\u003e\u003ca href=\"https:\/\/www.christies.com\/en\/lot\/lot-5952676\"\u003eChristies\u003c\/a\u003e,\u003ca href=\"https:\/\/www.lempertz.com\/en\/catalogues\/lot\/1241-1\/18-dogon-figure.html\"\u003e Lemperts, \u003c\/a\u003e\u003ca href=\"https:\/\/www.artkhade.com\/en\/object\/47jQ2WwK\/a-dogon-bombou-toro-figure-mali\"\u003eArtkhade\u003c\/a\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003eMuseum:\u003c\/p\u003e\n\u003cp align=\"left\"\u003eGallery:\u003ca href=\"https:\/\/barakatgallery.eu\/artworks\/categories\/415\/54607-dogon-bombou-toro-sculpture-of-a-seated-figure-19th-century-ce-20th-century-ce\/\"\u003e Barakat Gallery\u003c\/a\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-size: small;\"\u003eHeight: 104 cm\u003c\/span\u003e\u003cbr\u003eWeight: 3,8 kg\u003c\/p\u003e","brand":"Galerie Wolfgang Jaenicke","offers":[{"title":"Default Title","offer_id":53266554388803,"sku":"PC076619","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/PC076619.jpg?v=1749462475"},{"product_id":"a-senufo-kpelie-bronze-mask","title":"A Senufo Kpelié Bronze-Mask","description":"\u003cp align=\"left\"\u003e\u003cspan style=\"color: #404040; font-size: small;\"\u003eA Senufo Kpelié Bronze-Mask, the oval face with crescent scarifications around the mouth and the cheeks, a domed forehead beneath the sculpture of a woman, pierced through at the rim for attachments; dark to shiny patina, partly blackened oxidised, collected in the vicinity of Korhogo, Ivory Coast. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"color: #404040; font-size: small;\"\u003e\u003cem\u003eKpelie-masks were worn during funeral sessions By the Poro society. These funeral festivities are marked by masquerades, which symbolically expresses the fundamental dualities in Senufo Thought: mal\/female, body, spitit, life\/death. In general this type of mask is symbolizing an ideal woman. The unique features which characterize the Kpelie mask include elongated flanges radiating from the bottom part of the mask, which are a reference to the hornbill bird. The horns on the mask refer to the ram, an important sacrificial animal. The nodules on the forehead represent palm nuts as well as vulvas; they are flanked by cicatrization marks that symbolize the twins born to the primordial couple.The significance of the double face are not known, but double- and single- faced Kpelie are used interchangably. A Doublehead \u003ca href=\"http:\/\/www.jaenicke-njoya.com\/s531\/pages\/P1011768.htm\"\u003eSenufo Kpelie Mask \u003c\/a\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cem\u003e\u003cspan style=\"font-size: small;\"\u003eHolas, B., L'Art Sacré Sénoufo, Limoges, 1978, Facing the Mask, Herreman, Frank, Museum for African Art. s. publ. \u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/001anhang\/foerster.divination.jpg\" alt=\"Senufo Bronze Mask\" width=\"199\" height=\"297\"\u003e\u003cbr\u003e\u003cbr\u003eTill Foerster, Divination bei den Kafibele-Senufo, Dietrich Reimer Verlag, Berlin, available at our bookshop\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"color: #404040;\"\u003e\u003cspan style=\"font-size: small;\"\u003eHeight: 25 cm\u003cbr\u003eWeight: 600 g\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Galerie Wolfgang Jaenicke","offers":[{"title":"Default Title","offer_id":53311717802307,"sku":"P4076586","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/P4076586.jpg?v=1750077998"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/collections\/Button_senufo_copy.png?v=1654613375","url":"https:\/\/wolfgang-jaenicke.com\/collections\/senufo.oembed?page=5","provider":"Galerie Wolfgang Jaenicke","version":"1.0","type":"link"}