À propos du lot
n° 2602
Titre : A Songye Dance Mask
Notes : Provenance:Collected prior to 1939Marc FelixJoel CoonerExhibited:Governors State University, IL, 2003Krannert Art Museum, IL, 2003Belger Art Foundation/University of Missouri-Kansas City, MO, 2004Tall Grass Art Association, IL, 2005Published:Bourgeois and Rodolitz, REMNANTS OF RITUAL: SELECTIONS FROM THE GELBARD COLLECTION OF AFRICAN ART, Ethnos, New York, 2003, p.49, fig.104Masks of this general type, known as Kifwebe are utilized by the Bwada ka Bifwebe society among the Songye people of D.R.C. Congo and to some extent, by their Luba neighbors as well. The most characteristic feature of these masks is the striated surface, in some cases rendered finely as a multitude of lines, other times simply being presented as wide bands of opposing colors. For some time, it was believed that a large number of the most dramatic examples had been created for an early tourist market, though Mestach clearly and convincingly refutes this with a field photo taken in 1934 by Father Teenstra where a large group of nearly fifty masked dancers are gathered in full costume, wearing masks that some had deemed “non-traditional” (Mestach, 1985). The Gelbard collection example is one of the virtuoso pieces of the genre, Mestach writes that this piece is: An early collected Kifwebe, perfectly authentic from the inter-influenced region of Kabinda – the morphology is of a rare type, and perfectly executed (which is not the case for objects that were destined for commercial or tourist sale) and visibly by a hand that A. Malraux would have called: a creator of styles” (Mestach, 1988). Additionally Mestach feels that there is a great deal of Luba influence in what he terms this “female” Kifwebe. As a work of art this outstanding mask illustrates successful experimentation with form and geometry, the added polychromatic designs perfectly highlight the tensions and balance the thrusting forms. The carving of arcs above the eyes produces an optical illusion of raised bulges. The carver of this great work was not only a creator, but indeed a master, working with and synthesizing his idiom while remaining true to its parameters. This lot is accompanied by letters of authenticity from J. Willy Mestach, Marc Felix, and Dr. Chris Roy. Additionally, the piece was seen and verbally authenticated in person by the late Dr. Roy Sieber.Bonhams 2, Salle de vente
, New York, US
🔓Accès libre sans carte bancaire.
Titre de la vente : Fine African and Oceanic Art
Date de la vente : 13/11/2007
🔓Accès libre sans carte bancaire.
Référence de l'enchère
: Live Sale
