A Rare Kuba, Lele, Ilolo-Musene Mask, Democratic Republic of the Congo

Collected in situ in the village Pang, Kasai Province, Democratic Republic of the Congo
Patric Claes, Brussels and Kinshasa
Richard and Susan Lee, Ridgefield, acquired from the above on April 13, 1980

Clarke College, Index Gallery, Gaiser Hall, Vancouver, Traditional Tribal Art of Zaire, January 11 -  February 24, 1989
Archer Gallery, Vancouver, A Passion for Africa: Central African Art from the Richard and Susan Lee Collection, February 19 - March 16, 2008

Good condition overall for this kind of object; insect damage on proper right eye, as seen on photographs; age crack through mouth; nicks and scratches, wear and tear, areas of abrasion; two screws inserted into inside top for mounting; dark brown surface with beige, blue and white pigment, the metal parts partially corroded; fiber attachments probably later replacement.
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.

Lele Masks

Lele masks are exceedingly rare in European and American collections. The Lele, stylistically influenced by their Kuba neighbors, produced a variety of decorative arts including decorated drums, divination instruments, tobacco pipes and drinking cups. Their masking traditions are also stylistically similar to certain Southern Kuba and some Eastern Pende masks with their predominantly flat elongated face, prominent forehead, arched eyebrows and pronounced eyes, nose and mouth.  The surface application of red pigment and accents of black and white surface patterning is also common to these central Congo styles.  Like the Kuba, the Lele also embellish their most important masks with the addition of copper to accentuate certain features of the face. In this example, copper covers the distinct coffee bean shaped eyes and the decoration on the forehead of the mask.

This mask is certainly by the same hand as an example in the collection of the Seattle Art Museum. While most Lele masks are face masks with the attachment of a framework made from fiber and raffia cloth to form the sides and back of the head, this example (like the Seattle mask) is a helmet mask with carved geometric surface patterning on the back of the carved wooden head. A particularly interesting detail on both the Seattle mask and the one offered at auction is the ingenious way in which the artist has created curvilinear ears with a raised center that suggests the raised keloids that are worn by both men and women to help alleviate recurrent headaches that are caused by malaria. The black and white pigment in the form of arched lines over the eyes suggests eyebrows, while the similar treatment below the eyes suggests the sagging of skin below aging eyes of the elderly. This design element is similar to the surface treatment on the Lele mask in the collection of the National Museum of African Art, Smithsonian Institution. This element in combination with the prominent use of copper on the mask denotes that the mask represents a high ranking elder. The precise performance context of Lele masks is uncertain; but like other masks in the Kasai region, they are most likely employed during funeral rituals honoring deceased members of the community.

Anonymous author
April 2009