CARL KJERSMEIER 115 FIG. 17 (above): Dance crest, sogoni koun. Bamana, Mali or Burkina Faso. Before 1932. Wood, fi ber. H: 43 cm. Collected in situ, Tenendou, 1932. Ex Kjersmeier Collection. Nationalmuseet, Copenhagen, Denmark, inv. G8049. FIG. 18 (left): Dance crest, sogoni koun. Bamana, Mali or Burkina Faso. Before 1932. Wood. H: 49.5 cm. Collected in situ, Diegoumina, 1932. Ex Kjersmeier Collection. Nationalmuseet, Copenhagen, Denmark, inv. G8044. horns representing the third animal depicted.28 Understandably, such a visually active composition excited and inspired European artists and collectors of the early twentieth century—just as it does their contemporaries today. For the Kjersmeiers, ongoing assessment of the collection was needed to refi ne its structure, necessitating decisions about acquisition and deacquisition of objects in order to keep it in line with their vision. For both of them, this process went hand in hand as their knowledge and experience increased. For this reason, Kjersmeier developed important relationships with several antique dealers, including Lau Sunde, who ran the shop Etnografi ca in Copenhagen, and Charles Ratton in Paris. Sunde acquired a good FIG. 19 (below): Dance crest, sogoni koun. Bamana, Mali or Burkina Faso. Before 1932. Wood. H: 44 cm. Collected in situ, Tenendou, 1932. Ex Kjersmeier Collection; Lau Sunde/ Etnografi ca, Copenhagen; Benkt-Åke Benktsson Collection, 1948. Kulturen Lund, Sweden, inv. KM 51467.206. © Viveca Ohlsson, Kulturen.
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