Appui-tête, Yaka, République Démocratique du Congo

Alan Brandt (1923-2002), New York
Collection Daniel et Marian Malcolm, Tenafly, New Jersey, acquis en novembre 1985

Bastin, Introduction aux arts d’Afrique noire, 1984, p. 302, n° 317
Schweizer, Visions of Grace: 100 Masterpieces from the Collection of Daniel and Marian Malcolm, 2014, p. 190, cat n° 72

Excellent condition overall. Wear consistent with age and use within the culture. One stabilised hairline to the middle of the upper part, the latest with deep dark patina. The animal figure has a caramel colour with a beautiful surface only marked by minor scratches and chips consistent with age and use.
"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’iconographie des appuis-tête musawu – dont les sujets puisent dans la figuration humaine, animale ou domestique - est associée aux éléments de la pensée Yaka. Selon Bourgeois (in Falgayrettes-Leveau, Animal, 2007, p. 299 et 312), le riche bestiaire utilisé dans l’art Yaka souligne la relation métaphorique entre l’imagerie animale et l’identité masculine. « La représentation du léopard Ngo […] est rarement sculptée en bois, à l’exception, notable, des appuis-tête ». Son symbolisme renvoie à l’image du chef et, à travers elle, soit à la société des hommes-léopards (syonnya) à laquelle faisaient appel certains chefs lignagers, soit au culte ngongi dédié aux esprits des ancêtres.

Ces appuis-tête étaient ainsi à la fois des objets fonctionnels et spirituels. Ils servaient d’oreillers durant le sommeil des chefs, protégeant leur coiffure élaborée perçue comme un talisman, mais aussi de liens avec les esprits qui communiquaient avec les hommes à travers leurs rêves. « En tant que pièce de la propriété privée d’un dignitaire [certains chefs de terre kalaamba ou les responsables des matrilignages lemba], s’y trouvaient souvent attachés des charmes personnels qui renforçaient le pouvoir spirituel de l’objet » (Bourgeois, Yaka, 2014, p. 119).

Stylistiquement, cet appui-tête s’apparente étroitement à celui de la collection Bela Hein (Fraysse et Associés, Paris, 8 décembre 2004, n° 47). Les contraintes usuelles sont transcendées par la remarquable maîtrise de la composition, jouant sur la dynamique des volumes et la tension des lignes. Le léopard de la collection Malcolm s’impose, tout en élégance et en puissance féline. La finesse des modelés est accentuée par les nuances de la patine brun miel, témoignant de son usage prolongé.

Yaka headrest, Democratic Republic of the Congo

The iconography of musawu headrests is tied to important aspects of Yaka thought and their subject matter is drawn from the human, animal, and domestic realms. According to Bourgeois (in Falgayrettes-Leveau, Animal, 2007, pp. 299 & 312), the rich bestiary of Yaka art highlights the metaphorical relationship between animal imagery and male identity. “The leopard Ngo […] is rarely sculpted in wood, with the notable exception of its representation in headrests”. It refers symbolically to the person of a chief, and through him to the society of leopard-men (syonnya), used by some land chiefs, or to the ngongi cult, which is dedicated to the spirits of the ancestors.

A headrest such as the Malcolm example was at once a functional and a spiritual object. It was used as a pillow whilst the chief slept, protecting his elaborate (and talismanic) hairstyle and, at the same time, it was a link to the spirits, who communicated with people through their dreams. “[…] headrests were used most especially by male land chiefs (kalaamba) and some matrilineal headmen (lemba) […] as an item of personal property of the dignitary, they often had personal charms attached.” (Bourgeois, Yaka, 2014, p. 119).

Stylistically, this headrest is closely related to the example formerly in the Bela Hein collection (Fraysse et Associés, Paris, 8 December 2004, lot 47). The artist here has transcended the usual formal constraints and used line and volume to create a masterly composition. The leopard headrest from the Malcolm Collection is remarkable both for its elegance and its depiction of feline power. The delicate modelling is accentuated by a nuanced honey-brown patina which attests to the headrest’s prolonged use.