This beautifully-carved and well-worn figure of a seated woman was made by the Baule, and was intended to be a spirit wife, or Blolo bla. Most unusually, it has been carved from ivory, which was viewed as being at least as expensive as gold if not more so by indigenous West African societies; this has obvious implications for the status of the original owner. She is seated on a simple stool – itself an unusual finding – with her hands resting on her abdomen. She is naked save for a loincloth and bracelets/anklets. The face has been worn, but preserves her somewhat quizzical expression and tightly closed eyes. She bears a single scarification on the left cheek. She has a very complex trilobate coiffure with gathered swathes and ornate plaits hanging backwards and to either side. There are remnants of scarifications on her abdomen. She is probably well-to-do, judging from the aforementioned status-linked issues (hair, stool, jewellery etc), while the fact that she has a rotund abdomen may indicate that some desire for pregnancy. The ivory is patinated and variegated, and has a lovely tone.

The Baule live across the Ivory Coast area, and have an economy based primarily on sedentary agriculturism. They have thus been able to build up a considerable political and economic stronghold, which has in turn given rise to a strong ritual and artistic heritage. Their own creation story relates to an ancient migration, in which the queen was forced to sacrifice her son in order to ford a mighty river. So upset was she that all she could say was “baouli” (“the child is dead”), thus giving rise to the tribe’s name.

Upon reaching one’s majority – and particularly during a crisis of some sort - many Baule citizens enlist the help of their otherworld spouse, a perfect partner who is linked to them and who can help them in adversity. The identity of their spouse is ascertained through divination, following which a figure representing the partner will be carved and blessed. Females have a Blolo Bian figure, males a Blolo Bla. The real-life spouse will then spend considerable time with the carving – generally one night a week – in the hope that supernatural assistance will be forthcoming. The Baule are also renowned for sculptures representing bush spirits (Asie usu) – mischievous and potentially malevolent inhabitants of the “bush”, or dark country beyond the boundary of the village – as well as dance masks, prestige items (often made of gold) and a range of highly decorated secular objects such as doors, heddle pulleys and culinary equipment.
The fact that many such pieces have a centuries-old patina from handling and libations would seem to suggest that pieces can be inherited, and that the sculptures can either contain more than one spouse, or that s/he can be replaced by the spouse of the new owner. This is particularly the case with valuable or very well-carved pieces. Like most other human societies, the Baule are prey to conspicuous consumption, which is a central key to asserting one’s status in the village, and thus one’s power and influence. While their carving is among the most refined and restrained in Africa, therefore, artists vie to produce more impressive and beautiful carvings which are often decorated or adorned by their proud owners.
The iconography of this piece is indicative. It represents a mature woman, unusually, and perhaps pregnant. However, she is first and foremost a rich woman, with her regalia clearly portrayed. This piece belonged to a rich family, as ivory is so costly, and it is clear that wealth was something he looked for in his astral spouse. Interestingly it does not portray as young and blushing a bride as is normal with these peices. Whatever its significance, however, this is a beautifully rendered piece of Baule art.