18 - Figure, "bateba bambar"

Figure, "bateba bambar" Lobi. Burkina Faso Without base Wood. H 28.5 cm. Provenance: - Samir Borro, Abidjan. - 1992: Galerie Walu, Zurich. - 1996: Swiss private collection, Zurich. The figures known as “Bateba Bambar” are special protective figures of the Lobi people, depicting individuals with limited mobility. Often depicted sitting with outstretched legs, they embody a remarkable concept: precisely because they cannot leave their place, they are regarded as constant guardians of the home and family. In addition, they are believed to possess protective powers against paralysis. Dr. Stephan Herkenhoff, a collector of Lobi art and a recognized expert on the subject, wrote the following about the Lobi in 2006 in “Anonymous Carvers of the Lobi” (Herkenhoff, Stephan and Petra / Katsouros, Floros and Sigrid. Hanover: Ethnographika Hannover): “The Lobi originally hail from Ghana. Around 1770, some of them settled in Burkina Faso, and about 100 years later, they also moved to the Ivory Coast. Today, approximately 180,000 Lobi live in this tri-border region. In 1898, the French colonial authorities grouped the Lobi and their neighboring tribes—such as the Birifor, Dagara, Teguessie (Thuna), Pougouli, and Gan—under the term “Cercle du Lobi” for administrative reasons. It is this community we refer to today when we speak of “Lobi art.” A distinctive feature of African art is that the carvers usually remain anonymous. It is generally tribal art that must follow a established canon, and only rarely are they individual creations. For this reason, the carvers are rarely known by name. Collectors of African art are primarily concerned with determining which ethnic group an object originates from. In contrast to conventions in Western art, the names of individual artists are not as important in this context. Among most tribes, the range of variation in the artworks is relatively narrow. The appearance of sculptures or masks has varied only slightly from one generation of carvers to the next. In this respect, Lobi art is a true exception. Here, there is a very wide iconographic variety, both in terms of the size of the statues and in terms of the different rendering of details (mouth, nose, eyes, ears, hairstyles, arm positions, depiction of the chest area, navel, genitals, legs, hands, feet, etc.). One reason for this lies in the structure of the tribe. It is not a centrally governed community, but rather an acephalous society. The Lobi therefore have neither kings nor cities, but only clan chiefs and loose groupings of fortress-like dwellings (called sukalas). Consequently, very little information was exchanged over long distances. This allowed many local styles and sub-styles to develop within the Lobi stylistic tradition. Furthermore, it is not easy to attribute an object to a specific place of origin. This is because Lobi families abandon their place of residence after two or three generations due to depleted farmland and seek out a new area where they can find fertile soil. Consequently, even when asking locals in Africa where a statue comes from, one receives different answers (oral communication from Thomas Waigel). Another distinctive feature of how Lobi statues are created stems from the fact that, in principle, any man can become a carver.” Further reading: Herkenhoff, Stephan and Petra (2013). Carvers of the Lobi. Osnabrück: Stephan Herkenhoff. CHF 300 / 600 Weight in grams: 949 Condition: Hammer Auctions places great importance on providing a careful and as precise as possible description of all lots offered in the catalog. Each lot is documented with multiple photographs intended to provide as comprehensive an impression of its condition as possible. This includes, in particular, visible signs of wear, irregularities, and age-related changes. We recommend that all interested parties and bidders carefully examine the photographs before submitting a bid, as they form an essential part of the lot description. In addition, we recommend viewing the items in person before the auction, if possible. All condition descriptions are provided to the best of our knowledge and belief and are based on our professional assessment. They are provided for informational purposes only and do not claim to be exhaustive. In particular, there may be age- or use-related characteristics that are neither explicitly mentioned nor visible in the photographs. Hammer Auctions assumes no liability for unintentional errors or omissions in the condition descriptions to the extent permitted by law. However, we always strive to address any ambiguities or concerns transparently, fairly, and comprehensively.