Das ist der Preis für die folgende Bewertung: A rare and important Fang male reliquary guardian figure

Beschreibung : standing, and supplanted by a thick cylindrical shaft, with wedge-shaped feet beneath muscular bent legs, rounded hips and the torso in barrel form with distinct cylindrical navel, the back with deeply grooved spinal column decorated with a column of incised scarification and framed by a similar column to either side, all beneath broad shoulders leading to muscular arms, the right reaching up to support the chin and the left grasping the right forearm, the broad spherical head with concave facial plane and protruding slit mouth showing sculpted teeth beneath the nose framed by inset wood and copper eyes, and framed by semicircular protruding ears, and wearing a tripartite backswept coiffure with repeating chevron motif, the torso with a repeating arched incised scarification on the front and vertical panels with a repeating zigzag motif on the reverse, areas of abrasion on the calves, buttocks, knees and feet; exceptionally fine black patina with large resinous areas, Inagaki base. height with shaft 20Âin. (52.4cm.) Provenance: Georges de MirE, Paris Probably John Graham, New York Frank Crowninshield, New York Parke Bernet, 'The Frank Crowninshield Collection of Modern French Art', New York, October 20 and 21, 1943, number 131 Pierre Matisse Gallery, New York Arthur Mones, New York Merton Simpson, New York Published: Graham, Exhibition of Sculptures of Old African Civilizations, 1936:no. 49 The Brooklyn Museum of Art, African Negro Art:The Collection of Frank Crowninshield, 1937:no.88 Robbins and Nooter, African Art in American Collections, 1989: 333, figure 862 de Grunne, 'Fang Statuary: A Classical Art Form?' in Tribal Arts, June 1994, issue 2:53 Exhibited: New York, Jacques Seligman Gallery, Exhibition of Sculptures of Old African Civilizations, January 4- January 22, 1936 Brooklyn, The Brooklyn Museum, African Negro Art: The Collection of Frank Crowninshield, May 1937 This unusual Fang male figure, with the left arm grasping the right has an illustrious history. The De MirE Collection was one of the most famous early collections of African art in France. De MirE was a business man who collected works of the highest quality. He was forced to sell his collection in the 1930s as a result of some financial problems. It was the artist John Graham who was primarily responsible for the range and quality of Frank Crowninshield's collection of African art. Graham purchased many of the works in Paris, and indeed the content of the collection expressed a strong emphasis on work from the French colonies. By the time of the Seligman Gallery exhibition, the Crowninshield collection had nine Fang figures. In keeping with his idea of naming individual African works in order to emphasize their uniqueness and their masterpiece quality, Graham wrote the following about the offered lot, 'Child figure, Pahouin, holding its cheek. Unusual example as to posture and pose...' (Clarke 1995:36) and in his notes for the Brooklyn show he called the figure 'The Weeping child'. The gesture of the hand holding the cheek is very rare in Fang sculpture. A survey at the Van Rijn Documentation Center reveals only two others in this pose while Perrois (1979:293) publishes only one other. However, the hand of the master carver who created this exceptional work has been documented in Perrois (1979:fig 113), a seated figure with nearly identical treatment of the musculature, the inset eyes, and the backswept coiffure incised with repeating chevron motif.
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