A Kulango Heddle Pulley
Roller train
Kulango (Nafana, Abron), Côte d'Ivoire, Bon…
Description

A Kulango Heddle Pulley Roller train Kulango (Nafana, Abron), Côte d'Ivoire, Bondoukou region Mit Sockel / with base Wood. H 18,5 cm. Provenance: - 1980: Samir Borro, Paris. - Hans Rudolf Germann, inherited from his father, Herrliberg. - Koller Auctions, Geneva, 11.12.2013, lot 299. - Private collection from French-speaking Switzerland. Described as follows in the seller's collection inventory: "Poulie de métier à tisser en bois marron teinté en noir. L'étrier est surmonté de deux colonnettes à cannelures obliques qui portent un visage (masque?) d'où surgissent deux cornes en forme de croissant. Décor très élaboré sur tout l'objet, excepté le visage et l'arrière des cornes. Les montants de l'étrier s'ornent de sabliers couchés, le corps de 3 registres de triangles, les tranches de rectangles striés, croix de St-André et bandes de triangles, et l'arc bordant le corps d'une ligne de carrés; le dos de l'étrier est décoré d'un zigzag en haut, et de stries obliques sur les montants. Les traits saillants du visage sont une bouche oval (avec ébauche de moustaches de chat aux commissures), un nez en forme de verre à liqueur renversé, des yeux globuleux ornés d'un guillochis sur la paupière supérieure. En creux, barbe et sourcils, et deux losanges gravés sur chaque tempe. La coiffure, bordée d'un bandeau gravé de carrés, est délicatement décorée de chevrons et guillochis, les cornes le sont de triangles et losanges gravés. Oreilles triangulaires, percées et gravées. Le trou de suspension est trans-versal, renforcé sur le devant par un cerclage de laiton. Le fil de suspension a laissé sa marque dans le bois, clair et lisse sur son passage. Bobine en bois, aux bords usés, conservée sur son axe. Le double montant portant le "masque" rappelle les masques bedu des Nafana/Hwela, les multiples gravures ramènent plutôt vers les Kulango/Ligbi, et les yeux globuleux chez les Abron. Tous ces détails situent l'objet dans la région de Bondoukou, à la frontière de la Côte d'Ivoire et du Ghana." ----------------------------------------------------- Surrounding themselves with attractive objects was a fundamental concern of the peoples of Côte d'Ivoire, which is particularly evident in the artistically designed everyday objects, such as weaving roll holders. The pulley is part of the narrow-belt loom. It was used to anchor the roller, through the central groove of which ran the connecting cord of two so-called heddle rods, with the help of which the warp threads could be raised and lowered. Further reading: Förster, Till (1988). The art of the Senufo. Zurich: Museum Rietberg. CHF 1 000 / 2 000 Weight in grams: 81 Condition: The condition (possible wear, signs of use, tears, possible other impairments and the signs of age etc.) of this lot can be seen in the photos we have uploaded for your documentation. If you have any questions about this item, please do not hesitate to contact Hammer Auctions ([email protected]). The information regarding the condition of the items provided for the convenience of interested parties is an opinion only and should not be treated as a statement of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided they notify Hammer Auctions within 5 days of receiving the lot.

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A Kulango Heddle Pulley

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A Djimini Heddle Pulley Pulley Djimini, Côte d'Ivoire Ohne Sockel / without base Wood, cord. H 13 cm. Provenance: - Jean-Louis Rinsoz (1932-1971), Vevey. - Heirs of Jean-Louis Rinsoz, French-speaking Switzerland. Surrounding themselves with attractive objects was a fundamental concern of the peoples of the Ivory Coast, which is particularly evident in the artistically designed everyday objects, such as weaving roll holders. The pulley is part of the narrow-belt loom. It was used to anchor the roller, through the central groove of which ran the connecting cord of two so-called heddle rods, with the help of which the warp threads could be raised and lowered. Further reading: Schaedler, Karl-Ferdinand (1987). Weaving in Africa south of the Sahara. Munich: Panterra Verlag. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz was born in Vevey in 1932. After completing his schooling, he studied economics at the University of Lausanne (Faculty of Business Administration, HEC) before joining the family business "Rinsoz et Ormond SA" in Vevey, which manufactured tobacco, cigars and cigarettes. Deeply attached to his home region, he was always closely involved in Vevey's social, cultural and industrial activities. In order to diversify the sources of tobacco supply and meet the growing demands of an expanding market, Jean-Louis Rinsoz looked for new production areas. His travels took him first to Maryland (USA) and then, in the mid-1960s, to Côte d'Ivoire. This country was a revelation for him. Everything he was passionate about was there: the nature, the people and their culture! In addition to developing a significant economic partnership with the Ivorian state by setting up several tobacco production centers there, Jean-Louis Rinsoz financed the opening of a number of small schools to provide access to education for the children of this country. He was officially appointed by the Ivorian state as "Honorary Consul of Côte d'Ivoire in Switzerland, based in Vevey" and was even inaugurated as village chief in the Baoulé region. He was equally fascinated by the traditional art of these regions, in its social, aesthetic and religious dimensions. It was in this context that he met the ethnologist and art historian Bohumil Holas, who was then director of the Museum of Civilizations of Côte d'Ivoire in Abidjan. The two men became friends. The confluence of all these factors resulted in the exhibition "Arts de la Côte d'Ivoire. The Treasures of the Abidjan Museum", which was held at the Museum of Fine Arts in Vevey in 1969. Jean-Louis Rinsoz was the chairman of the committee. The moving foreword he wrote for the catalog of this event testifies to his deep attachment to this country. Jean-Louis Rinsoz had applied for Ivorian citizenship. He was never to live to see that day, as he died in a tragic accident in 1971. The African objects from Jean-Louis Rinsoz's personal collection have been in the family ever since and this "treasure from Vevey" is being offered to international collectors of traditional African art for the first time at our auction. CHF 400 / 800 Weight in grams: 58 Condition: The condition of this lot (wear, signs of use, tears, any other detractions and the signs of age, etc. The condition of this lot (wear, tears, possible other impairments and signs of age, if applicable) can be seen in the photos we have uploaded for your documentation. Please do not hesitate to contact Hammer Auctions with any questions regarding this lot ([email protected]). The statements regarding the condition of the items made for the convenience of interested parties are opinions only and should not be treated as statements of fact. Hammer Auctions accepts no responsibility for any errors or omissions. In the rare event that the item does not match the description in the catalog, Hammer Auctions is here to help. Buyers may return the lot for a full refund provided Hammer Auctions has been notified within 5 days of receipt of the lot.