West Africa, Nigeria, Yoruba peoples, ca. mid-20th century CE. A wonderful pair of hand-carved wood figures - one male and one female - known as ere ibeji. Both standing nude atop integral plinths, each figure displays tubular legs and an elongated torso with bangled arms resting parallel to the body. Their sizable heads each present a stylized visage of almond-shaped, generously lidded eyes beneath arched brows, a straight nose, and full lips held slightly parted, as incised striations of ceremonial scarification adorn their gaunt cheeks. Both wear conical headdresses, which sit just above their realistically sculpted ears. Though both exhibit incised navels, only the female is detailed with delineated breasts. A fabulous pair of examples, boasting a natural, caramel-colored woodgrain with areas of espresso-hued patina, all enveloped in a lustrous burnish. Size of largest (male): 3" W x 10.4" H (7.6 cm x 26.4 cm)

The Yoruba have one of the highest number of twin births in the world, four times higher than in Europe, for example. Ibeji are known to the Yoruba as two people who share one soul. If one of the human twins dies, whether as a child or an adult, the surviving human twin is considered to have little hope of living with only half a soul. Further, the deceased's soul must have a place to reside. Wooden figures, like this pair, keep the souls of the twins together. When a matched pair of twins is made, it is an indication that both human twins have died. This pair shows darkened, worn, and smooth surfaces which convey the devotion and respect to the Ibeji spirit.

"Ultimately, the surface of an Ibeji measures the object's spiritual value to the caregiver. The response of the Yoruba mothers and caregivers is primarily personal and spiritual, not aesthetic. Even an Ibeji carved by a mediocre artisan can develop a surface reflecting great efficacy to the believer. The wood is worked, fed, oiled, and clothed not so much to fulfill an aesthetic ideal but to fulfill a human need…" ("Ibeji Surface Analysis" by Charles Bordogna, in "Surfaces" ed. Kahan, Page, Imperato, 2009 by Indiana Univ. Press.)

Provenance: private Englewood, Colorado USA collection, acquired on the New York art market

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#168993

Small area of loss to bases of both and stable fissure to base of male. Both have expected nicks, chips, abrasions, and softening of detail, commensurate with age. Otherwise, both are excellent with nice patina.