Ibibio Mask, Nigeria

Hélène and Philippe Leloup, Paris and New York
Allan Stone, New York, acquired from the above on April 1, 1987

Very good condition for an object of this age and rare type. Open age crack to top back of mask. Wear and old losses around the back edge. Marks, nicks, scratches, abrasions, dents, hairline age cracks, and surface cavities consistent with age and use. Holes for attachment are worn. Old chip to proper right side of lower lip, patinated over. Exceptionally fine aged blackened patina with white, red, and blue pigment.
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.

Neighbors to the Igbo, the Ibibio live in Eastern Nigeria in an area between the Niger River delta and the Cross River. According to Bacquart (1998: 92), the Ibibio "live in villages led by a chief elected from the most honourable heads of the important families and Ibibio [...] social life is regulated by three secret societies which incorporate masks into thei annual ceremonies. The most important of these societies is the Ekpo, which is responsible for the cult of the ancestors, who are in turn responsible for the welfare of the tribe. In Ibibio ceremonies, two main types of mask appear. The first, known as Mfon, has an articulated jaw and represents a 'beautiful' spirit who has attained eternal bliss. The second mask, called Idiok, is thought to represent a hell-dwelling spirit."

The magnificent Ibibio mask from the Allan Stone Collection is an extremely rare variant of the latter type, idiok. The freightening attitude of the mask is manifest in the aquiline nose and the open mouth bearing large filed teeth. However, it is the eyes that dominate the character of this masterpiece of Nigerian sculpture. The finely modeled eye-lids are surrounded by large flaring discs, incised with concentric rings rings and highlighted with red and white (kaolin) pigments. Something of a mixture between halluzinogenic and hypnotic expression, it is a testament of man’s primordial quest to control fear through magic.

Only two other masks of this exceptionally rare iconography (featuring a protruding nose and red and white eyes) are known: one in the collection of the Federal Department of Antiquities, Lagos (Leuzinger 1970: cover) and another in the collection of Wally and Udo Horstmann, Zug (Bassani 2007: cover). Neither of the two, however, matches the Stone mask in quality and expressive power, making the latter the unrivaled masterpiece of its genre.