A terracotta vessel - Adamawa - Nigeria (No reserve price)

拍品/a terracotta vessel adamawa nigeria no reserve price ebKHyZ4 632980907 / 在售

拍品/a terracotta vessel adamawa nigeria no reserve price ebKHyZ4 632980907

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拍品/a terracotta vessel adamawa nigeria no reserve price ebKHyZ4 632980907

在售價格走勢

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A terracotta vessel - Adamawa - Nigeria (No reserve price)

Adamawa Anthropomorphic Vessel, Nigeria Nigeria, Adamawa region Terracotta, incl stand. An imposing anthropomorphic terracotta vessel from the Adamawa region of northeastern Nigeria, according to information supplied by Petit Coulibaly. The original designation “Sculpture en vessel Adamawa, région Adamawa, Nigeria” identifies the object specifically as a sculptural vessel rather than simply as an anthropomorphic figure. Its broad, hollow-looking body and elaborate figurative superstructure combine the functions and visual vocabulary of a container and a human representation. The elongated head rises prominently above the vessel-shaped body and is characterized by strongly projecting facial features. A long narrow nose establishes the central axis, accompanied by small modelled eyes and a projecting mouth. Elongated lateral elements frame the face, while the upper section is crowned by an elaborate coiffure or headdress composed of repeated ridged and segmented forms. Particularly striking are the large curved elements surrounding the face. These create open spaces between the central facial structure and the outer contours, giving the head an unusually complex construction. Viewed in profile, the considerable projection of the facial features and applied elements becomes especially apparent. The neck is encircled by a pronounced ornamental collar composed of repeated vertical incisions. This band establishes a clear transition between the elongated head and the broad body. Additional projecting elements around the shoulders further enrich the silhouette. The torso expands dramatically into a broad, rounded vessel-like volume. Applied relief decoration covers the upper portion, with curved and pointed motifs arranged around the surface and enriched by repeated diagonal incisions. A continuous horizontal band of closely spaced oblique grooves separates this decorated register from the comparatively plain lower section. The lower body is massive and rounded, tapering toward two abbreviated legs and prominently modelled feet. Individual toes are indicated by incised divisions. The fusion of container and human body is one of the most distinctive features of the sculpture, making the vessel itself an integral component of the anthropomorphic conception. The Adamawa region encompasses a culturally diverse area of northeastern Nigeria and neighbouring Cameroon. The regional designation should therefore not automatically be equated with a specific ethnic attribution. Although Chamba communities are present within this broader cultural landscape, the available information identifies the present work geographically as Adamawa and does not securely establish a more specific cultural origin. The terracotta surface displays warm ochre, reddish-brown and pale earthy tones with darker deposits in recessed areas. Abrasion, encrustation, small losses, erosion and modelling irregularities remain visible throughout. Literature: Richard Fardon, Fusions: Masquerades and Thought Style East of the Niger-Benue Confluence, West Africa, Saffron Books, London, 2007. Marla C. Berns, Richard Fardon and Sidney Littlefield Kasfir (eds.), Central Nigeria Unmasked: Arts of the Benue River Valley, Fowler Museum at UCLA, Los Angeles, 2011. Roy Sieber, Sculpture of Northern Nigeria, Museum of Fine Arts, Houston, 1961. Karl-Ferdinand Schädler, Encyclopedia of African Art and Culture, Panterra Verlag, Munich, 2009. Some of the information and photos are generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history documents. All information and photos are protected by copyright. Inv. No. MAZ28803 Legal Framework Under the 1970 UNESCO Convention in combination with the Kulturgutschutz Gesetz (KGSG) any claim for the restitution of cultural property becomes time-barred three years after the competent authorities of the State of origin obtain knowledge of the object’s location and the identity of its possessor. All bronzes and terracotta items offered have been publicly exhibited in Wolfgang Jaenicke Gallery since 2001. Organisations such as DIGITAL BENIN and academic institutions such as the Technical University of Berlin, which have been intensively involved in restitution-reseaches (translocation-project) over the past seven years, are aware of our work, have inspected large parts of our collection and have visited us in our dependance in Lomé, Togo, among other places, to learn about the international Art trade on site. Furthermore, the National Commission for Museums and Monuments (NCMM) in Abuja, Nigeria, has been informed about our collection. In no case in the past have there been restitution claims against private institutions such as the Wolfgang Jaenicke Gallery Our Gallery addresses these structural challenges through a policy of maximum transparency and documentation. Should any questions or uncertainties arise, we invite you to contact us. Each matter will be reviewed diligently using all available resources.

估價:$238.93

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