Mirror box, Umale Oganegi, Igala, Nigeria - Lot 43

Mirror box, Umale Oganegi, Igala, Nigeria (Lower Benue-Denika district) This obejt could be attributed to the Iyale workshop in the where William Fagg attributes several pieces to a sculptor named Umale Oganegi Wood, blackish patina inlaid with brown, metal Height: 60 cm - Length 21 cm Provenances : Vera and Wolfgang Nerlich, Munich, Germany Bernard Riac Collection, acquired in 2015 ---- Mirror box, Umale Oganegi, Igala, Nigeria (Lower Benoué-Dénika district) This might be attributed to the Iyale workshop in the neighbourhood Dekina, where William Fagg attributes several pieces to a sculptor named Umale Oganegi Wood, blackish patina with brown inlay, metal Height: 60 cm - Length 21 cm Provenances: Vera and Wolfgang Nerlich, Munich, Germany Bernard Riac Collection, acquired in 2015 The origin of this rare anthropomorphic mirror box can be attributed to the Iyale workshop, located near Dekina in the northern region of Igala territory, where William Fagg associated several pieces with a sculptor named Umale Oganegi. As Susan Picton, who met him on two occasions in 1969, notes, this self-taught artist had "developed an easily recognizable style of wood carving [...] characterized by bold simplicity". His signature style is characterized by flat planes, protruding elements and incised patterns on the wood surface. Active between the 1940s and 1970s, he produced statues, two examples of which are now in the Brooklyn Museum and the Indianapolis Museum of Art, as well as these figurative lidded boxes, used as a case for a mirror, and intended to hold cosmetics such as ochre or camwood mixed with oil. This box, whose formal and stylistic composition is similar to the example in the New Orleans Museum of Art (inv. no. 92.379.a,.b), takes the form of a rectangular container evoking a torso and engraved with delicate geometric motifs, whose central cavity is covered by a lid designed to protect the mirror once present. The relief and contrast of the engravings is magnified by the blackish patina inlaid with brown, resulting from the use of a hot blade or poker. The long, straight neck supports a small, semi-hemispherical head topped by a high summit crest, which extends to form the high-relief nose standing out from the flat surface of the face. The face, framed by large, ovoid ears, is marked by long, linear scarification marks. --- The origin of this rare anthropomorphic mirror box can be traced to the workshop of Iyale, near the town of Dekina, in the northern region of Igala territory. William Fagg linked several works from this area to a sculptor named Umale Oganegi. This self-taught artist, as noted by Susan Picton-who met him twice in 1969-had "developed a readily recognizable style of wood sculpture [...] characterized by bold simplicity." His stylistic signature is distinguished by flat planes, protruding elements, and incised surface motifs. Active between the 1940s and 1970s, he produced figures-two of which are now held in the Brooklyn Museum and the Indianapolis Museum of Art-as well as these figural lidded boxes, which once housed mirrors and were used to store cosmetics such as ochre or camwood mixed with oil. This particular box, whose formal and stylistic composition closely recalls the example preserved in the New Orleans Museum of Art (inv. no. 92.379.a,.b), takes the shape of a rectangular container evocative of a torso. Its surface is engraved with delicate geometric patterns, and the central cavity is covered with a lid designed to protect the mirror it once held. The contrast and relief of the carvings are heightened by a blackish patina with embedded brown hues, likely resulting from the use of a heated blade or poker. The long, straight neck supports a small, semi-hemispherical head crowned by a tall crest, which extends downward to form a prominent nose in high relief, emerging from the flat facial plane. The face, flanked by large, ovoid ears, bears long linear scarification marks. At the back of the neck, several slight vertical cracks. At the level of the cap connecting the head, a long crack. On the left side of the cap, a lateral crack. A few small chips. The inside of the box lid is slightly missing. normal condition. pigment residues. - At the back of the neck, several slight vertical cracks. At the cap connecting the head, a long crack. On the left side of the cap, a lateral crack. A few small gaps. The inside of the lid of the box has some small gaps. Normal use condition. pigment residues.