Hemba Male Ancestor Statue, Democratic Republic of the Congo

Pierre Dartevelle, Brussels, acquired from the original owners in Lubumbashi
Patrick Dierickx, Brussels, acquired from the above
Merton D. Simpson, New York, acquired from the above
Acquired by the present owner from the above in 1987

Marie Louise Bastin, Introduction aux arts d'Afrique noire, Arnouville, 1984, p. 342, no. 363
Merton D. Simpson (adv.), African Arts, vol. XX, no. 2, February 1987, p. 1

Very good condition for an object of this age and type. General marks, nicks, scratches, abrasions and minor surface cracks consistent with age and ritual handling. Old burn losses to front of lower body as shown. Cavity between buttocks on reverse. Several circular patches of remains of insect casings, including one below each thigh (the proper right with papery casing intact) and one on body below left elbow. Losses around edges of integrally-carved plinth. There is a small circular hole a the top center of the diadem for a magic charge. Exceptionally fine glossy deep reddish-brown patina with encrustation. Some small white splatters on shoulders and head. Fixed to modern 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.

A Hemba Ancestor Statue of the Luika River Niembo

The dynastic history of the great princely families that once ruled the savannas in the eastern part of present-day Democratic Republic of the Congo was, and is, preserved in a unique and extraordinary way: monumental ancestor statues produced by master sculptors were venerated in classical Hemba culture, and today are among the most highly prized works of African Art.  The archetypal Hemba ancestor figure shows the ancestor standing, with hands resting about the umbilicus, with the eyes half-open in a peaceful expression.  This pose expresses the nobility of the deceased, refers to the progenitor of the family lineage, and shows the ancestor as a guardian, vigilantly watching over the world of the living while providing a connection to the world of the dead.

The present Hemba statue is a major example of the style of the Luika River Niembo (distinct from the Southern Niembo), and is part of a small known corpus from this region, situated not far from the famous Buli workshops.  The Niembo sculptural style is among the most refined in the Hemba canon.

Cultural background

The region inhabited by the Hemba, which covers almost 10,000 square kilometers, extends to the east of the Congo River and north of the Lukuga River, downstream of Lake Tanganyika. It comprises the northern part of Katanga province and the eastern part of Maniema province.  The Luba dubbed the inhabitants of this region the “Hemba”, meaning eastern immigrants, known by their distinct language and manner of dress.  The impact of colonization and the political centralization of the country after independence reinforced this generic term, which conceals the more nuanced and complex social reality.  Without delving into too detailed account of this reality, one can note that the Hemba lived by hunting and small-scale agriculture, in a decentralized social and political organization.  Dual membership of each member in the paternal clan (kitofu) and the maternal clan (kilongo) reflects both of an individual’s lineages.  The Niembo, a northern Hemba group to which the present statue belongs, inhabit the banks of the Luika River. This majestic region, made up of great rolling hills, is reflected in the special beauty of northern sculptural styles. Among the Niembo, it is the maternal clan that dominates.

Sculptural Characteristics

The present Hemba ancestor statue is a major work in the corpus of the Luika River Niembo.  The spherical head, of full, rounded form, presents a wide forehead which extends to the crown.  The almond-shaped eyes are barely open under heavy upper eyelids.  The hollow orbits are carved out in arcs with the eyebrows delineated in relief above, extending until they meet the aquiline bridge of the nose.  The naturalistic lips are delicately pursed.  The face is harmoniously balanced between the elegant beard, composed of a series of curved, embossed lines echoing the forms of the cheeks, and the slightly raised diadem.  The cups of the ears are in the form of semi-circular arcs enclosing the tragus.  These morphological details emphasize the realism of this prestigious art; the figure is exemplary of what has been called “la grand art du sommeil”; the ancestor is shown “asleep” but vigilant, guarding the world of the living but connected to the world of the dead.  The coiffure opens in flared crown, neatly divided into four lobes on an oblique plane at 45 degrees to the dorsal plane.  Two horizontal double braids separated by a groove intersect and pass over similar, perpendicular double braids. According to tradition, during the migrations of the dry season, clan leaders kept precious seeds in a small bag made of vegetable fibers beneath this crossed coiffure for replanting.  The simple lines of the slender torso resemble the form of a Greek amphora.  The trunk is narrowest under the arms, flaring at the upper chest, and swelling at the belly.  The symmetrical arms are slightly separated from the body and fall to each side, drawing attention to the symbolic center of the figure, the belly and umbilicus, signifying life and the persistence of the lineage; the ancestor-mother, protective of the unborn child and the future of the dynasty.

The unknown master-sculptor of this statue, working within a precise tradition, has represented the ancestor in standing posture, symmetrically positioned. The carefully orchestrated isometric design, with alternation of fluid detail and cubist volumes, gives an overall impression of balance, harmony, peace and beauty.

Stylistic Attribution

The Luika River Niembo workshops, situated between those of the Mambwe to the east and the Muhona and the Nkuvu to the west, are among the most prestigious exponents of the Hemba sculptural style, and provide an important link between the northern and southern Hemba styles.  The present Hemba statue can be attributed to a Niembo workshop on the shores of the Luika.   The other statues in this style are:

1. Hemba ancestor statue in the Art Institute of Chicago, Chicago  (inv. no. "1972.453") collected in the Kongolo region (Neyt 1977: Fig. V, 7).

2. Hemba ancestor statue, in the Institut des Musées Nationaux du Congo (inv. no. "72.746.70"), collected in 1972 in a village between Kiombo and Kionga, having most likely belonged to chief Mbeya of the Niembo (Neyt 1977: Fig. V, 6)

3. Hemba ancestor figure bearing weapons, private Belgian collection (Neyt 1977: Fig. V, 2)

4. Hemba ancestor statue, private Belgian collection (Neyt 1977: Fig. V, 9)

These five statues, including the present statue, were likely carved in one or two workshops.  Their clear similarities are readily apparent when one views them side-by-side, including the general posture, the coiffure angled at 45 degrees from the head, and the sculpted diamond-shaped navel.  Variations among them occur mainly in the details of the cross-shaped coiffure.  While some have braids engraved with chevrons, others, including the present figure, bear simple braids without embellishment.  Scarifications in the form of empennage on the belly are more common on Hemba statuary east of the Niembo but are rarely vertical as they appear in the present sculpture and on another figure.

Thus the present figure, along with the group discussed above, can be attributed to the same workshop of the Niembo of the Luika, north of the central region of Mbulula.  The present figure perhaps even represents the same ancestor as the one shown with a scepter and blade, above no. 3 from a private Belgian collection; the others represent other members of the same dynastic lineage.  The majestic serenity of this Hemba Prince exudes the harmony which is the trademark of this superb workshop.   Reflecting the talents of a prestigious sculptor, it is a precious historical document of classical Hemba culture, and dates to the second half of the 19th century.

François Neyt
March 2013