Masque , Pende, République Démocratique du Congo

Acquis de F. Rolin & Co. Inc., New York

Exposé et reproduit dans:
Herreman, To Cure and Protect : Sickness and Health in African Art, 1999 : 21 et couverture, n° 11, catalogue de l'exposition, The Museum for African Art, New York, 7 février - 31 août 1997

Good condition overall; wear consistent with age and use within the culture: nicks and scratches; small age cracks and losses to the edge of the rim. Aged light brown patina with dark pigment and kaolin, partially abraded, as visible in the catalogue illustration.
"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'audace de la conception confronte le regard occidental aux sources du Primitivism. Ce type de masque Pende fut l'un des quatre proposés par Jean Laude puis Alfred Barr comme inspiration des deux "têtes africaines" des Demoiselles d'Avignon. S'il est aujourd'hui avéré qu'aucun de ces quatre types de masques n'aurait pu être vu par Picasso à Paris en 1907 (Rubin, 1994 : 260-266), s'affirme ici "l'écho des affinités entre des expressions artistiques fondées sur des signes conceptuels plutôt que sur des conventions picturales directement issues de l'observation" (idem : 265).

Choisi pour la couverture du catalogue To Cure and Protect : Sickness and Health in African Art, il s'impose, par l'ampleur de son volume et la dynamique des formes anguleuses, parmi les plus beaux masques mbangu évoquant, selon Stroher (in Tervuren, 1995 : 315), un "ensorcelé".