Ben Enwonwu

Acquired by parents of present owner in 1962

There is some even acid discoloration on the paper, which appears to not be fully laid down. The work has not been exhibited out of its frame, but appears to be in good condition overall.
"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."

Drawing of a head depicts a young boy with visibly West African features – high cheekbones, broad nose and lips. His wide eyed pensive expression illustrates the observant state of many Nigerians in the infancy of establishing a new government, two years after gaining independence in 1960.

From 1960 to 1966, Enwonwu completed several portrait commissions from ‘individuals, civic, religious, and secular organizations, including that of Nnamdi Azikiwe, the first president of Nigeria' (Sylvester Ogbechie, Ben Enwonwu: The Making of an African Modernist, Rochester, 2008, p. 155). At the point of making this illustration, Enwonwu was occupied with a ‘militant affirmation of Negritude ideology,’ in which he ‘incorporated obvious signs of African identity (masks and other cultural motifs) into his art’.

As with much of his works, Drawing of a head illustrates Enwonwu’s attempt to represent the best of Nigeria’s indigenous cultures. He was influential in representing the post-colonial Nigerian identity both to Nigerian nationalists and colonial government. ‘His art was devoted to nationalist ideals and deployed symbols drawn from significant cultural motifs of several indigenous ethnic groups' (ibid., p. 155).