Mambila Female Ancestor Figure, Cameroon

Harry A. Franklin, Los Angeles, ca. 1960s
Sotheby's New York, The Harry A. Franklin Family Collection of African Art, April 21, 1990, lot 140
Hans Schneckenburger, Munich, acquired at the above auction
Philippe Guimiot, Brussels, acquired from the above
Private European Collection, acquired from the above on November 6, 2000

National Museum of Natural History, Smithsonian Institution, Washington, D.C., The Art of Cameroon, February 1 - June 17, 1984; additional venues:
The Museum of Fine Arts, Houston, July 28 - September 9, 1984
New Orleans Museum of Art, New Orleans, October 6 - November 25, 1984
Field Museum of Natural History, Chicago, March 9 - June 16, 1985
American Museum of Natural History, New York, July 15 - October 15, 1985
Los Angeles County Museum of Natural History, Los Angeles, Expressions of Cameroon Art: the Franklin Collection, February 1 - November 15, 1986; additional venues:
The Baltimore Museum of Art, Baltimore, June 1 - September 6, 1987
Hood Museum of Art, Dartmouth College, Hanover, October 5, 1987 - January 3, 1988
Dayton Art Institute, Dayton, June 6 - September 4, 1988
Flint Institute of Arts, Flint, October 3, 1988 - January 8, 1989
Palo Alto Cultural Center, Palo Alto, October 7 - December 31, 1989

Tamara Northern, The Art of Cameroon, Washington, 1984, p. 190, fig. 128
Tamara Northern, Expressions of Cameroon Art: the Franklin Collection, Los Angeles, 1986, p. 27, fig. 10
Jean-Baptiste Bacquart, The Tribal Arts of Africa, London, 1998, p. 104, fig. 3

Excellent condition for an object of this age and rare type. Minor scratches and abrasions throughout consistent with age and ritual handling. Minor age cracks. Old losses to pegs surrounding face as shown, with patina and encrustation in remaining holes. Surface abrasion on front of proper left wrist. Square cavity for a charge behind proper right elbow. Small hole in top of head possibly for insertion of a charge or attachment. Small areas of erosion (insect damage) to underside of both heels. Exceptionally fine original brown aged patina with encrustations. Center of underside of proper right foot with square metal sleeve embedded for attachment to base.
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.

According to Kerchache (1990: 144), Mambila "religious life centres around ancestor worship.  Every village has an ancestor hut that is entrusted to the care of the elder.  It is built of stilts and has an image called 'Baltu' displayed on its front wall which shows a man and a woman holding a net which is used for catching birds or fish.  The ancestor figures of the Mambila are kept in such nets.  These figures are carved out of very soft wood and painted with red, white and black pigments.  They are called tadep or tadep dia (figures that measure 30 cm or more)."

Large scale Mambila ancestor statues of the quality of the Franklin Mambila are exceedingly rare.  See a female figure in the collection of Drs. Daniel and Marian Malcolm, New Jersey (Kerchache 1990: 145, pl. 52); a male figure previously in the collection of Mia and Loed Van Bussel, Amsterdam (Kerchache 1990: 147, pl. 57); and another male figure previously in the collection of the renowned art collector Rudolf Leopold, Vienna (Bastin 1984: 226, fig. 227).  The latter male figure, collected by Philippe Guimiot between 1968 and 1969, shares several unique features with the Franklin female figure, including the facial features, treatment of the ears and above all the cubistic rendering of the legs as spring-like zigzags.  Given that Mambila ancestor statues were conceived as male and female pairs, it seems reasonable to conclude that both are works by the same artist and originally formed a couple.