Das ist der Preis für die folgende Bewertung: Superb Akan Ceremonial Stool, 1991

Beschreibung : PROPERTY FROM AN AMERICAN PRIVATE COLLECTION measurements note height 27 in. 68.6 cm, width 26 1/2 in. 67.3cm dwa, obi-te-obi-so'gwa, the beveled rectangular base supporting the complex superstructure, the first tier with a head turned and curling tail grasped by the small figure of stout proportions with a spherical head, the second tier--incised on one side: nyame mmoawo wow'ahenni--and comprised of two sets of figures of similar stout form, facing one another: one set playing oware, a board game, the other set with one seated and one standing with table in between, the whole supporting the beveled and arched seat with outer lugs, fine and varied honey to reddish brown patina with softly worn, slightly glossy patina. PROVENANCE Kuhn Collection, Los Angeles Acquired from Sotheby's, New York, November 20, 1991, lot 31 LITERATURE Cole and Ross, The Arts of Ghana, 1977: 139, figure 296, catalogue of the exhibition, Los Angeles, University of California, Frederick S. Wight Gallery, October 11 - December 11, 1977, Minneapolis, Minnesota Walker Art Center, February 11 - March 26, 1978, Dallas, Dallas Museum of Fine Arts, May 3 - July 2, 1978 Sieber, African Furniture and Household Objects, 1980: 148, catalogue of the exhibition, Indianapolis, Indianapolis Musuem of Art, April 9 - May 25, 1980, Kansas City, Missouri, Nelson-Atkins Museum of Art, July 3 - August 3, 1980, San Francisco, The M. H. de Young Memorial Museum, September 1 - November 9, 1980, Memphis, Tennessee, Brooks Memorial Art Gallery, March 1 - April 19, 1981, Brooklyn, The Brooklyn Museum of Art, June 20 - September 7, 1981 NOTE 'The Akan stool, dwa, is the most important and symbolically complex of all Ghanian art forms. Stools have multiple forms, functions and meanings: they range in significance from everyday furniture to the spiritual center of an ethnic group or nation' (Cole and Ross 1977: 134). Accordingly, regalia of the state is referred to as 'stool property' or heirlooms, agyapadie, and when a ruler dies it is said that 'the stool has fallen' (ibid.). Akan art uniquely emphasizes above all sociopolitical structure and organization. Proverbs related to people and ideas and the achievement of social order are conveyed visually throughout Akan arts. Masks and other 'spirit-regarding' sculptures are not part of the Akan artistic lexicon. Rather, 'the Akan have chosen to emphasize a brand of humanism [through a verbal-visual language] which falls distinctly on the man-regarding side, (Trowell 1964:23 in ibid.: 8). The Kuhn stool offered here, though incredibly distinct in execution, has not been assigned to a certain carver or atelier. The stool clearly belonged to an as yet unidentified ruler associated by the depiction of a leopard, a metaphor for the chief, and the inscription on the second tier --Nyame Mmooawo Wow'Ahenni--translates to 'May God help you reign.' The stool's message is described in Cole and Ross (1977: 137): 'Rattray (1927: 273, figure 181) identifies an analagous two-tiered [stool] as someone-sits-on-top-of-someone-else stool (obi te obi so'gwa) expressing the idea that everyone has his superior, a similar thought is depicted in the two-tiered or double-umbrellas of paramount chiefs (Kyerematen 1964:93). The lower image on the stool shows a boy grasping a leopard's tail, referring to the saying the small boy does not know the leopard (akabea nnum osebo). Relating the idea of the foolishness and innocence of young children and their need for education.' The depiction of two people with a table between them relays the idea that food is for the rightful owner, not those who are hungry. In this context it means the chieftancy, and stool, belong to descendants and rightful heirs, not those hungry for power (ibid.: 9). The presence of the oware board signifies the idea that the ruler likes to accept and master challenges (ibid.: 9 and 79).
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