12 poids d'or figuratifs Akan 12 poids d'or figuratifs Akan, Côte d'Ivoire Sans socle / without base Alliage de cuivre. L 1,5 - 9 cm. Provenance : - Jean-Louis Rinsoz (1932-1971), Vevey. - Héritiers Jean-Louis Rinsoz, Suisse romande. Les poids des peuples Akan de l'ancienne Côte d'Or ont été utilisés de 1400 à 1900 environ. Leur nom ne désigne pas le matériau de fabrication, mais leur fonction, à savoir la pesée de la poussière d'or qui était également utilisée comme moyen de paiement. Jusqu'à la fin du XIXe siècle, la poussière d'or a donc fait l'objet d'un commerce intense de la part des Asante et des peuples apparentés au Ghana et en Côte d'Ivoire. Des cuillères spéciales ("saawa"), généralement en tôle de laiton, servaient à prélever la poussière d'or ("sikafuturo") d'un récipient ("adaka", "kuduo", etc.) pour la peser sur une balance à fléau ("nsania") à l'aide de contrepoids ("abrammoo" / "mrammou, "abrammuo", etc.). Les poids en or étaient fabriqués à partir d'alliages de cuivre selon la technique de la cire perdue (également appelée "cire perdue" ou "moule perdu"). Les premières fontes de métal étaient principalement géométriques et ce n'est qu'au cours du XVIe siècle que les poids figuratifs ont fait leur apparition. Ces poids "récents" restaient destinés à un usage pratique et représentaient en outre le plus souvent des proverbes akan en tant que poids de prestige. En 1899, l'utilisation de la poudre d'or comme moyen de paiement a été interdite par les Britanniques au Ghana. Littérature complémentaire : Niangoran-Bouah, Georges (1984). L'univers Akan des poids a peser l'or / The Akan World of Gold Weights. Abidjan : Les Nouvelles Editions Africaines. ----------------------------------------------------- Jean-Louis Rinsoz Jean-Louis Rinsoz est né en 1932 à Vevey. Après avoir terminé sa scolarité, il a étudié les sciences économiques à l'Université de Lausanne (Faculté d'économie d'entreprise, HEC) avant d'entrer dans l'entreprise familiale "Rinsoz et Ormond SA" à Vevey, qui fabriquait du tabac, des cigares et des cigarettes. Profondément attaché à sa région d'origine, il a toujours été fortement impliqué dans les activités sociales, culturelles et industrielles de Vevey. Afin de diversifier les sources d'approvisionnement en tabac et de répondre aux exigences croissantes d'un marché en pleine expansion, Jean-Louis Rinsoz a cherché de nouveaux espaces de production. Ses voyages l'ont d'abord conduit dans le Maryland (États-Unis) puis, au milieu des années 1960, en Côte d'Ivoire. Ce pays a été pour lui une révélation. Tout ce qui le passionnait était là : la nature, les gens et leur culture ! Outre le développement d'un important partenariat économique avec l'Etat ivoirien, à travers la création de plusieurs centres de production de tabac là-bas, Jean-Louis Rinsoz a financé l'ouverture d'une série de petites écoles pour permettre aux enfants de ce pays d'accéder à l'éducation. Il a été officiellement nommé par l'État ivoirien "Consul honoraire de Côte d'Ivoire en Suisse avec résidence à Vevey" et a même été intronisé chef de village dans la région du Baoulé. L'art traditionnel de ces régions le fascinait tout autant, dans sa dimension sociale, esthétique et religieuse. C'est dans ce contexte qu'il a rencontré l'ethnologue et historien de l'art Bohumil Holas, alors directeur du Musée des civilisations de Côte d'Ivoire à Abidjan. Les deux hommes sont devenus amis. De la confluence de tous ces facteurs est née l'exposition "Arts de la Côte d'Ivoire. Les trésors du Musée d'Abidjan", qui s'est tenue en 1969 au Musée des Beaux-Arts de Vevey. Jean-Louis Rinsoz en était le président du comité. L'émouvante préface qu'il a écrite pour le catalogue de cette manifestation témoigne de son profond attachement à ce pays. Jean-Louis Rinsoz avait demandé la nationalité ivoirienne. Il ne devait jamais voir ce jour, puisqu'il est décédé dans un tragique accident en 1971. Les objets africains de la collection personnelle de Jean-Louis Rinsoz étaient depuis lors en possession de la famille et ce "trésor de Vevey" sera proposé pour la première fois aux collectionneurs internationaux d'art traditionnel africain lors de notre vente aux enchères. CHF 100 / 200 Poids en grammes : 482 État L'état de ce lot (usure, traces d'utilisation, déchirures, autres détériorations éventuelles et les traces d'ancienneté, etc. ) est visible sur les photos que nous avons téléchargées pour votre documentation. N'hésitez pas à contacter Hammer Auctions pour toute question concernant ce lot ([email protected]). Les informations relatives à l'état des objets, fournies par souci de pertinence aux personnes intéressées, ne sont qu'une opinion et ne doivent pas être traitées comme des affirmations de fait. Hammer Auctions décline toute responsabilité en cas d'erreur ou d'omission. Dans le cas rare où l'objet ne correspondrait pas à la description du catalogue, Hammer Auctions est là pour vous aider. Les acheteurs peuvent

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African Ethnograhic Art from Gérald & Muriel MINKOFF, Galerie Walu and others Swiss Private Collections.

All items are guaranteed to be as described or your MONEY BACK. 

A "Confirmation of Provenance" and a "Right to Dispose" as well as all mentioned certificates will accompany each artwork. 

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Hammer Auktionen