Paire de statues, Atelier d'Osogbo, Yoruba, Nigeria

Mareidi Singer, Munich
Collection privée, Allemagne, acquis ca. 1966

Zurich, Rietberg Museum, Yoruba; Art and Aesthetics in Nigeria, 7 novembre 1991 - 8 mars 1992
Munich, Villa Stuck, Götter Geister Ahnen. Afrikanische Skulpturen in deutschen Privatsammlungen /Gods Spirits Ancestors, African sculpture from private German collections, 28 octobre 1992 - 10 janvier 1993

Stoll, Mareidi et Gert, Yoruba Plastiken. Privatsammlung Stoll, 1970, p. 11 
Homberger, Yoruba, Art and Aesthetics, 1991, p. 71, n° 84
Schädler, Gods Spirits Ancestors, African sculpture from private German collections, 1992, p. 106, n° 75

Good condition overall. Some cracks on both figures, most visible are on the proper left leg of the female figure, on the middle of the back and on the proper right side of the head of the male figure. Some insect holes on the face and the torso of the feminine figure. Wear consistent with age and use within the culture. Beautiful brown patina and good preservation of the glass beads ornaments.
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Ce couple de personnages, dont la pose agenouillée évoque la dévotion et l'offrande, ornait autrefois un sanctuaire dédié aux divinités orisha du panthéon Yoruba – et plus spécifiquement à la divinité Osun (ou oshun), déesse associée à l'eau douce, à la sensualité, à la fertilité, à la beauté et à l’amour. Osun est la déesse d'un fleuve qui traverse la ville d'Osogbo, théâtre des premiers échanges entre la déesse et les êtres humains ; ces sculptures furent très vraisemblablement créées en son honneur par les maîtres de l'atelier d’Osogbo. La figure féminine arbore une haute coiffe très élaborée et tient une coupe à offrandes tandis que le personnage masculin, de plus petite dimension, porte un costume traditionnel et tient un python, en référence au culte rendu à ce reptile par les populations du sud du Bénin et du Nigeria, où il représente l'Être suprême. Les deux personnages sont richement parés, notamment de colliers rapportés de perles aux couleurs primaires, dont les bleues symbolisent l'eau. Ces sculptures se distinguent par la grande sensibilité des visages, la délicatesse des motifs dentelés encerclant les larges yeux à la pupille percée, et par les nuances de la patine profonde attestant leur ancienneté.

Voir Fagg et Pemberton (Yoruba Sculpture of West Africa, 1982, p. 67, pl. 7) pour une statue très apparentée, et Christie’s (Paris, 13 décembre 2011, n° 278) pour un couple comparable, mais où le python est associé à la figure féminine.

In a kneeling position connoting reverence and offering, this pair of Yoruba figures would likely have graced a shrine dedicated to the orisha deities of the Yoruba pantheon within southwestern Nigeria, specifically the deity Osun (also spelled oshun), a goddess associated with fresh water, sensuality, fertility, beauty and love. Osun is the deity of a river which flows through the city of Osogbo. It is believed the first transaction between the goddess and human beings took place in this city, where these sculptures were likely carved, by the Osogbo workshop, in her honor.

The female is larger than the male; she displays an elaborate high coiffure and holds an offering vessel. The male wears traditional dress and grasps in both hands a snake, likely to be a python and a reference to the cult of python worship widespread throughout the people of southern Benin and Nigeria where it represents the Supreme Being. Both figures are adorned with carved bangles and beaded necklaces in primary colours, principally blue, signifying water. They are distinguished for the great sensibility of their facial features; serrated detailing surrounding the almond-shaped eyes with pierced pupils and the rich patina of old use covering the heads.

See Fagg et Pemberton (Yoruba Sculpture of West Africa, 1982, p. 67, pl. 7) for a very similar figure, and Christie’s (Paris, 13 décembre 2011, n° 278) for a comparable pair where the female figure is represented with a snake wrapped around the neck.