46 - Women's seat, "mmaa gwa"

Women's seat, "mmaa gwa" Ashanti, Ghana Without base Wood. H 21 cm. W 16 cm. L 35 cm. Provenance: - Josef Joller (1886–1972), Winterthur. - Alice Szentkiralyi-Joller (1932–2025), Winterthur. - Passed down through the family. A traditional gift for a bride or an expectant mother. The distinctive monoxyl carvings consist of a rectangular base, an individually designed central section, and a concave seat above it. They are crafted by specialized artisans and are called “dwa” in the Twi language. The most famous chair of the Ashanti is undoubtedly the “Sika Dwa Kofi,” the golden chair (“Golden Stool Born on a Friday”). According to tradition, it was summoned from heaven by the high priest Okomfo Anokye on behalf of King Osei Tutu, the founder of the Ashanti Empire. To this day, it is considered the embodiment of the soul and unity of the Ashanti nation. Most stools, however, served as simple seats and are still used in many households today. Furthermore, they play an important role in social and religious life and may be revered in ritual as bearers of spiritual power. Seats reserved for high-ranking dignitaries remain symbols of rank, authority, and political legitimacy to this day. They are among the most important regalia of the Ashanti rulers, who could own several stools of varying designs. These ceremonial seats, called adamu dwa, are adorned—in particularly precious examples—with gold, silver, or bronze lamellae, bells, beads, shackles, and amulets. The motifs depicted on the central section are often proverbial or abstract in nature and reflect the values, ideals, and political aspirations of the respective clan and its rulers. There is a particularly close relationship between the owner and his stool. An Ashanti proverb states that there are no secrets between the two. After the owner’s death, the stool is kept by the bereaved as a memento and is usually ritually honored annually during the “Odwira” (among the Akan) or “Homowo” (among the Ga) until the memory of its former owner has faded. Further Reading: Ross, Doran H. et al. (2008). The Gold of the Akan. Museum Liaunig. Neuhaus: Museumsverwaltung GmbH. -------------------------------- Josef Joller (1886–1972) The Swiss merchant Josef Joller worked for the Swiss African Trading Company in the West African cocoa trade during the 1930s and 1940s. His professional activities took him to what was then the British Gold Coast—now Ghana—as well as to the neighboring Ivory Coast (Côte d’Ivoire), which was under French colonial administration at the time. At that time, cocoa was one of West Africa’s most important export commodities. European trading companies maintained an extensive network of trading posts and business relationships that connected the coastal cities with the production areas in the interior. As a Swiss merchant, Joller operated within this economic and cultural environment, where European commercial interests intersected with the diverse traditions of West African societies. His many years of activity in the region provide an interesting historical context for understanding the artworks that later came into his possession. It points to an era in which personal encounters, trade contacts, and travel could also shape the path of African art objects into European private collections. CHF 200 / 400 Weight in grams: 1100 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 and fairly