- 88
APPUI-TÊTE, LUBA, RÉPUBLIQUE DÉMOCRATIQUE DU CONGO |
Estimate
80,000 - 120,000 EUR
bidding is closed
Description
- wood
- haut. 14 cm ; 5 1/2 in
Appui-tête, Luba, République Démocratique du Congo
Provenance
Collection du Colonel Joseph Hendrickx, acquis in situ ca. 1898
Transmis par descendance
Collection privée, Belgique
Transmis par descendance
Collection privée, Belgique
Condition
Excellent condition overall. Wear consistent with age and use within the culture. Thin crack on the somital part. Beautiful brown patina.
"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."
"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."
Catalogue Note
Cet appui-tête remarquable s’impose tant par la rareté de son iconographie que par la gestuelle des figures sculptées. Objets du quotidien permettant d’assurer le repos tout en préservant la coiffure élaborée des membres de l’aristocratie Luba, ces créations possèdent également une très forte valeur symbolique, en tant que support du rêve et donc de la vie : « De toute évidence, les appuie-tête, et singulièrement ceux qui sont taillés et construits avec beaucoup de soin, sont perçus comme des objets personnels, investis d’une dimension spirituelle qui pourrait avoir un effet sur les rêves » (Muensterberger in Falgayrettes, Support de rêves, 1989, préface).
Relevant du corpus le plus abouti et le plus rare des appuis-tête – celui à double figure humaine -, cette œuvre illustre tant l’esthétique raffinée de l’art Luba que l’individualité de l’artiste qui l’a créée. La complémentarité architectonique se retrouve dans celle des figures - l’une masculine, l’autre féminine. Cette iconographie l’apparente notamment au célèbre siège à cariatides d’un atelier Luba/Kusu (Neyt, Luba. Aux sources du Zaïre, 1994, p. 86-87), dont le personnage masculin adopte par ailleurs la même gestuelle singulière: une main posée sur le menton, l’autre sur le bas du ventre. Très rarement représentée, cette pose asymétrique est illustrée par deux autres appuis-tête, le premier Kalanga (Falgayrettes, idem, p. 80), le second Songye (Sotheby’s, Paris, 18 juin 2013, n° 67). Présentant les canons de beauté de la culture Luba – en particulier la coiffure extrêmement sophistiquée – cet appui-tête témoigne aussi de l’influence des Songye voisins, à travers l’interprétation des pieds démesurés évoquant la déambulation des esprits durant la nuit. Stylistiquement, cette œuvre est étroitement apparentée à une autre miniature à deux personnages sculptés dos-à-dos, conservée au Rietberg Museum (Leuzinger, Afrikanische Skulpturen, 1963, n° 10). Tant dans la construction corporelle que dans l’élongation des bras ou encore dans la stylisation des coiffures et des visages en cœur, la comparaison de ces deux œuvres autorise leur attribution à un même artiste. La découverte de cet appui-tête acquis à la fin du XIXe siècle permet d’établir un corpus dont les qualités remarquables et l’individualité artistique révèlent la main d’un maître sculpteur exerçant aux confins des pays Luba et Songye, et dont le talent s’est exprimé dans la création de chefs-d’œuvre miniatures.
This remarkable neck-rest is highly unusual for its rare iconography and for the movement of the sculpted figures. As everyday objects that allowed the members of the Luba aristocracy to rest while preserving their elaborate coiffures, these sculptures also possessed a very high symbolic value, acting as bedrocks for dreams and therefore for life: "Head-‐rests, especially those that were carved and constructed with great care, were undoubtedly perceived as personal objects, invested with a spiritual dimension that could have an effect on dreams"(Muensterberger in Falgayrettes, Support de rêves, 1989, foreword).
This piece is a reflection of the finest and most rare of the neck-‐rest corpora -‐ that of the double human figure -‐ and it illustrates both the refined aesthetics of Luba art and the individuality of the artist who created it. The architectonic complementarity is reflected in the figures -‐ one masculine, the other feminine. This iconography correlates connects it to the famous caryatid seat of a Luba/Kusu workshop (Neyt, Luba. Aux sources du Zaïre, 1994, p. 86-‐87), where the male character also adopts the same singular gesture: one hand resting on his chin, the other on the lower part of the belly. Very rarely represented, this pose can be seen on one Kalanganeck-‐rest (Falgayrettes, ibid, p. 80) and on one other figure, of Songye origin(Sotheby's, Paris, 18 June 2013, No. 67). Displaying the beauty canons of Luba culture-‐ especially their extremely sophisticated hairstyles -‐ this neck-‐rest also testifies to the influence of the neighbouring Songye, through the interpretation of the disproportionately large feet evoking the wandering of the spirits during the night. Stylistically, this work is closely related to another miniature with two figures carved back-‐to-‐back, held at the Rietberg Museum (Leuzinger, Afrikanische Skulpturen, 1963, No. 10). Both in the construction of the body and in the elongation of the arms, as well as in the stylization of the coiffures and in the heart-‐shaped faces, the comparison of these two pieces makes it possible to attribute them both to the same artist. The discovery of this neck-‐rest, acquired in the late nineteenth century, brought about the establishment of a corpus, the remarkable qualities and artistic individuality of which reveal the hand of a master sculptor whose talent came to full fruition in the creation of miniature masterpieces.
Relevant du corpus le plus abouti et le plus rare des appuis-tête – celui à double figure humaine -, cette œuvre illustre tant l’esthétique raffinée de l’art Luba que l’individualité de l’artiste qui l’a créée. La complémentarité architectonique se retrouve dans celle des figures - l’une masculine, l’autre féminine. Cette iconographie l’apparente notamment au célèbre siège à cariatides d’un atelier Luba/Kusu (Neyt, Luba. Aux sources du Zaïre, 1994, p. 86-87), dont le personnage masculin adopte par ailleurs la même gestuelle singulière: une main posée sur le menton, l’autre sur le bas du ventre. Très rarement représentée, cette pose asymétrique est illustrée par deux autres appuis-tête, le premier Kalanga (Falgayrettes, idem, p. 80), le second Songye (Sotheby’s, Paris, 18 juin 2013, n° 67). Présentant les canons de beauté de la culture Luba – en particulier la coiffure extrêmement sophistiquée – cet appui-tête témoigne aussi de l’influence des Songye voisins, à travers l’interprétation des pieds démesurés évoquant la déambulation des esprits durant la nuit. Stylistiquement, cette œuvre est étroitement apparentée à une autre miniature à deux personnages sculptés dos-à-dos, conservée au Rietberg Museum (Leuzinger, Afrikanische Skulpturen, 1963, n° 10). Tant dans la construction corporelle que dans l’élongation des bras ou encore dans la stylisation des coiffures et des visages en cœur, la comparaison de ces deux œuvres autorise leur attribution à un même artiste. La découverte de cet appui-tête acquis à la fin du XIXe siècle permet d’établir un corpus dont les qualités remarquables et l’individualité artistique révèlent la main d’un maître sculpteur exerçant aux confins des pays Luba et Songye, et dont le talent s’est exprimé dans la création de chefs-d’œuvre miniatures.
This remarkable neck-rest is highly unusual for its rare iconography and for the movement of the sculpted figures. As everyday objects that allowed the members of the Luba aristocracy to rest while preserving their elaborate coiffures, these sculptures also possessed a very high symbolic value, acting as bedrocks for dreams and therefore for life: "Head-‐rests, especially those that were carved and constructed with great care, were undoubtedly perceived as personal objects, invested with a spiritual dimension that could have an effect on dreams"(Muensterberger in Falgayrettes, Support de rêves, 1989, foreword).
This piece is a reflection of the finest and most rare of the neck-‐rest corpora -‐ that of the double human figure -‐ and it illustrates both the refined aesthetics of Luba art and the individuality of the artist who created it. The architectonic complementarity is reflected in the figures -‐ one masculine, the other feminine. This iconography correlates connects it to the famous caryatid seat of a Luba/Kusu workshop (Neyt, Luba. Aux sources du Zaïre, 1994, p. 86-‐87), where the male character also adopts the same singular gesture: one hand resting on his chin, the other on the lower part of the belly. Very rarely represented, this pose can be seen on one Kalanganeck-‐rest (Falgayrettes, ibid, p. 80) and on one other figure, of Songye origin(Sotheby's, Paris, 18 June 2013, No. 67). Displaying the beauty canons of Luba culture-‐ especially their extremely sophisticated hairstyles -‐ this neck-‐rest also testifies to the influence of the neighbouring Songye, through the interpretation of the disproportionately large feet evoking the wandering of the spirits during the night. Stylistically, this work is closely related to another miniature with two figures carved back-‐to-‐back, held at the Rietberg Museum (Leuzinger, Afrikanische Skulpturen, 1963, No. 10). Both in the construction of the body and in the elongation of the arms, as well as in the stylization of the coiffures and in the heart-‐shaped faces, the comparison of these two pieces makes it possible to attribute them both to the same artist. The discovery of this neck-‐rest, acquired in the late nineteenth century, brought about the establishment of a corpus, the remarkable qualities and artistic individuality of which reveal the hand of a master sculptor whose talent came to full fruition in the creation of miniature masterpieces.