Exceptionnelle cuiller, Ngbandi, région de l'Ubangui, République Démocratique du Congo

Collection Jef Vanderstraete, Lasne
Aquise de F. Rolin & Co. Inc., New York

Excellent condition overall; wear and tear consistent with age and use within the culture : tiny chip and hairline cracks through the rim of the scoop. Fine aged medium to dark brown patina with residue.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

L'univers formel des cuillers-sculptures relève, partout en Afrique, des concepts plastiques identiques à ceux mis en œuvre dans la statuaire. Il arrive parfois, comme pour cette très rare cuiller Ngbandi, qu'elles en constituent l'expression la plus originale et la plus aboutie.

Dans la région nord congolaise de l'immense aire culturelle de l'Ubangui, la sculpture des Ngbandi offre probablement les caractéristiques les plus spécifiques : coiffure en pointe selon la mode de l'époque - chez les hommes et les femmes- de raser sa chevelure au-dessus du front en forme de V inversé, front étiré orné d'une nervure médiane dentelée s'étirant jusqu'à la base du nez, visage ceint par les tresses rigoureusement agencées (Burssens in Grootaers, 2007 : 114 – 118 et 199).

A l'apparente simplicité du rythme binaire répond la prodigieuse élaboration de l'image, où par la dynamique du manche ajouré, l'œil appréhende dans un même mouvement la tête humaine et son double négatif. La tension visuelle est accentuée par la pureté des formes jouant sur les ruptures de plans, par la profondeur des volumes et par les nuances de la patine brune.

cf. Ubangi (2007 : 120, n° 3.11) pour une cuiller très proche, probablement de la même main, conservée au Musée Royal de l'Afrique Centrale, Tervuren (inv. n° 77.17.7).

Exceptional Ngbandi spoon, Democratic Republic of the Congo

The formal attributes of spoon sculptures are defined, throughout Africa, by the same artistic concepts as those employed in the African statuary. In some cases, such as this very rare Ngbandi spoon, utilitarian implements are the most original and accomplished expression of these concepts.

In the north Congolese region of the immense Ubangui cultural area, Ngbandi sculpture probably displays some of the most recognisable and individual features: pointed coiffure reflecting the fashion of the time -both for men and women- of shaving the hair above the forehead in an inverted V shape, elongated forehead adorned with a central serrated ridge, all the way to the root of the nose, rigorously arranged plaits framing the face (Burssens in Grootaers, 2007 : 114 – 118 et 199).

The apparent simplicity of the binary rhythm is belied by the prodigiously fine composition of the visual aspect: via the connection of the perforated handle the eye sweeps both the human head and its negative double in a single movement. The visual tension is heightened by the purity of shapes defined by ruptured planes and dimensional depth.

cf. Ubangi (2007 : 120, n° 3.11 ) about a very similar spoon, probably by the same hand, kept at the Musée Royal de l'Afrique Centrale, Tervuren  (inv. n° 77.17.7).