Songye Power Figure, Democratic Republic of the Congo

nkisi

Ernst Anspach, New York
Paul Steinhacker, New York
American Private Collection, acquired from the above in 1993

The Center for African Art, New York, Wild Spirits Strong Medicine: African Art and the Wilderness, May 10 - August 20, 1989; additional venues:
The Mary and Leigh Block Art Gallery, Northwestern University, Evanston, Illinois, September 21 - November 22, 1989
The Lowe Art Museum, The University of Miami, Miami, December 14, 1989 - January 28, 1990
The Columbus Museum of Art, Columbus, February 18 - April 30, 1990
The Worcester Art Museum, Worcester, Massachusetts, September 15 - December 1, 1990

Martha G. Anderson & Christine Mullen Kreamer, Wild Spirits Strong Medicine: African Art and the Wilderness, New York, 1989, p. 124, cat. no. 84

Very good condition overall. Nicks, chips, scratches, and abrasions throughout. Old area of insect damage/erosion to the front of the vase as visible in the catalogue illustration. Some old wear to the proper right side of the back of the base. Fine varied patina with traces of reddish earth in places and areas of residue on the face.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Exhibiting the characteristics of the Songye sculptural canon, this nkisi is a refined example of power figures that inspired fear and awe through their projection of supernatural forces. Generally columnar in form, the figure has a disproportionately large head shaped as a rounded rectangle. At the top of the face, the eyes are tenderly rendered with two inlaid cowrie shells, while the nose and mouth are stylized in the form of an asymmetrical diamond and a protruding rectangle, respectively. The arms of the figure, bent at the elbows, are rectilinear, and lead the viewer’s eye towards the figure's rounded umbilicus. The figure's legs are short but powerful, projecting a sense of formal solidity and gravitas.

The production of power figures was the responsibility of sculptor-diviners (nganga) and a sculpture of this size would have belonged to an individual. The Songye regarded the wood figure as merely a shell, activated to full power only by the addition of bishimba, the sacred 'medicine' composed of animal, plant, and mineral substances chosen for their magical properties. Bishima was often incorporated as external accessories, like the metal insert and antelope horn protruding from the top of the figure's head, and contained in receptacles, such as in this figure's enlarged belly. The forces harnessed by bishimba and invoked by the nganga could be directed maliciously against one's enemies, or towards a desirable positive outcome.