Rare anthropomorphic copper-alloy figure with prestigious Émile Deletaille and Merton D. Simpson provenance

This remarkable male figure in copper alloy, attributed to the Inland Niger Delta region of Mali, possesses an extraordinary sculptural presence. Standing in a hieratic frontal pose, the figure develops an exceptionally elongated, almost architectural silhouette whose formal radicalism inevitably recalls, to the modern Western eye, certain explorations of twentieth-century sculpture, particularly the slender figures of Alberto Giacometti.

This comparison is, of course, purely aesthetic rather than historical; above all, it emphasizes the astonishing formal modernity of the work.

The body is organized around a powerful vertical axis. Long, slightly separated legs support an exceptionally elongated torso, while the slender arms descend parallel to the body and extend toward the pelvis like two continuous lines. This remarkable economy of volume, combined with the extreme elongation of the limbs, gives the figure a monumentality that greatly exceeds its actual dimensions.

The face possesses an equally distinctive personality: a slightly projecting head, prominent nose, deeply defined eyes, protruding ears, and strongly modeled mouth. The chin is extended by an imposing circular beard, a striking sculptural feature that reinforces the male identity of the figure.

The surface deserves particularly close attention. The body is extensively decorated with incised motifs and ornamental details, including bracelets, body adornments, geometric patterns, scarification-like markings, and a complex decorative treatment of the torso and abdomen. This graphic richness creates a subtle contrast with the radical simplicity and verticality of the overall silhouette.

The copper alloy displays a beautiful aged surface, dark and richly nuanced, punctuated in places by characteristic areas of green oxidation. Metal sculpture has a long history in Mali, supported in part by the circulation of copper through trans-Saharan trade networks. Dogon copper-alloy figures also demonstrate stylistic connections with the artistic traditions of Djenné and the Inland Niger Delta.

The exceptional character of this sculpture is further reinforced by its prestigious provenance.

The work was formerly in the collection of Émile M. Deletaille (1929–2021), an important Brussels figure in the field of African art, and subsequently in the collection of Merton D. Simpson (1928–2013), the renowned New York dealer, collector, and artist whose name is closely associated with major works of African art. It later passed through the hands of Bob Berete in Brussels.

This distinguished provenance — Émile Deletaille, Merton D. Simpson, and Bob Berete — places the sculpture within the history of international collecting and the specialist African art market.

Through its extraordinary verticality, sophisticated incised decoration, richly aged metal surface, and distinguished provenance, this figure represents a particularly compelling example of metal sculpture from Mali. Its striking formal modernity creates a fascinating dialogue between the ancient artistic traditions of West Africa and some of the major sculptural explorations of twentieth-century modernism.

Cast by the lost-wax process, the figure has a compact construction in which horse and rider form an almost inseparable sculptural unit. The tapered legs of the mount, strongly curved volumes and spiral or striated motifs give the piece a particularly striking graphic presence.

The term Putchu Guinadji probably derives from the Fulfulde expression puccu ginnaaji, meaning “horse of the spirits/genies”. These riders were used as protective and therapeutic amulets, particularly in the treatment of disorders understood locally in relation to spirit possession.

Their exact symbolism nevertheless remains debated: the rider may represent a spirit, a protective warrior, or an agent intended to control it.

This antique pair of bronze (or brass) ear ornaments is most likely attributed to a West African culture, probably the Lobi or Akan peoples. Their distinctive spool-shaped design, formed by two circular discs connected by a short cylindrical neck, corresponds to ornaments traditionally worn in stretched earlobes.

Such ornaments were far more than decorative accessories. They reflected social identity, status, age, or cultural affiliation, while contributing to the rich traditions of body adornment practiced throughout West Africa.

Their attractive aged patina, combining warm golden-brown tones with natural green oxidation, testifies to their age and long history of use. The elegant simplicity of their design highlights the refined aesthetic characteristic of many West African metalworking traditions.

Today these ornaments represent fine examples of traditional African jewelry and would make an excellent addition to a collection of African tribal art, ethnographic jewelry, or historical metalwork.

Zoomorphic copper alloy ornament from the Sylvia & Henry Gygax collection

This remarkable early Lobi ring from Burkina Faso beautifully reflects the symbolic richness and formal refinement of West African metal arts. Cast in a copper alloy, likely bronze or brass, the piece is distinguished by its rare zoomorphic decoration depicting a finely stylized chameleon.

An animal deeply associated in many African cultures with transformation, adaptability, and the connection between visible and invisible worlds, the chameleon is rendered here with striking formal restraint. The composition achieves a subtle balance between abstraction and naturalism, characteristic of early artistic productions from the Lobi cultural sphere.

The quality of the modeling, the softness of the patina, and the visible traces of age across the surface attest to an authentic object that was once worn and carefully preserved over time. The metalwork reveals a confident technical mastery, resulting in a composition that is both minimal and highly expressive.

This piece comes from the prestigious Swiss collection of Sylvia and Henry Gygax, recognized for the quality and sensitivity of its selections in the field of early African art. Such provenance adds significant interest for collectors attentive to historical coherence and distinguished collections.

Through its rarity, symbolic strength, and refined execution, this early Lobi ring stands as an excellent example of traditional African jewelry, ideal for a collection dedicated to the arts of Burkina Faso, early adornment objects, or miniature forms of African tribal art.