West Africa, Cameroon, Bamum (also called Bamoum, Bamun, Bamoun, or Mum), ca. early 20th to mid-20th century CE. A pair of finely cast brass equestrian warrior figures, each comprised of a detachable rider and horse, forming four individual sculptures. The horsemen sit high-backed in the saddle, one wearing a tightly wrapped turban, the other a distinctive bag-shaped hat, both raising curved weapons aloft in a gesture of martial readiness. Though neither rider now holds reins, their posture and hand positioning suggest they once did, emphasizing their command over their mounts. Each elongated torso is clad in a textured tunic, and the expressive, large-eyed faces are modeled with the stylized features characteristic of Bamum courtly art. The horses stand tall and alert, with sharply modeled heads, pricked ears, and bridles and saddlecloths defined by crisply incised crosshatch patterns. Size of figure on horse (both similar): 7.6" L x 3.4" W x 10.5" H (19.3 cm x 8.6 cm x 26.7 cm)
Such equestrian imagery within the Bamum Kingdom served as a powerful emblem of royal authority, military prestige, and cultural supremacy. The visual domain was central to Bamum statecraft - artists of the royal ateliers commemorated historic conquests, reinforced dynastic might, and visually enshrined the prestige of the ruling elite. Bamum craftsmen often appropriated the regalia and symbols of defeated leaders, integrating them into palace holdings alongside newly invented insignia for the king and his court.
Horse and rider figures like these were visual affirmations of a warrior's direct association with the monarchy, functioning as enduring symbols of loyalty, martial prowess, and elite status. The detachable design reflects both sculptural ingenuity and the symbolic autonomy of each element - the warrior as an agent of the king's power, and the horse as the noble extension of that authority. With their bold forms, intricate detailing, and strong sculptural presence, these works stand as striking witnesses to the Bamum mastery of lost-wax casting and their sophisticated visual language of state power.
Provenance: Ralph T. Coe Center for the Arts, Santa Fe, New Mexico, USA, acquired in 2010 via descent; ex-private collection of Ralph T. Coe, Santa Fe, New Mexico, USA
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#196060
Condition
Riders are removable from horses. Both have nicks, chips, and abrasions, commensurate with age. Otherwise, nice presentation with good detail and rich encrustations in areas.