A fine and rare Mangbetu figurative lidded bark box

rising from a spherical wooden base with a sharply ridged central support, the disc-like platform encircled by the cylindrical body compose of bark with a central seam, the lid constructed of lightweight wood in the form of a head with a gently rounded Adam's apple, the soft jawline framing the notched mouth, nose with delinated nostrils and large coffee-bean eyes punctuated by incised brows, the prominent ears pierced for attachment and wearing the traditional tall, tapering coiffure incised with ridges and chevron motifs; the base incised with pokerwork 'SONGO DEKVoi'; '578' in white pigment; natural honey brown patina with darkened areas of pokerwork.

Reportedly collected before 1911 in Rungu Village, Uele Region
Musée Royal de l'Afrique Centrale, Tervuren
Acquired from Lipkin Gallery, London, February 15, 1974

Among the Mangbetu, boxes were made to preserve honey or small precious objects such as jewels or magical remedies. Figurative boxes, such as the Brill box, were most likely an evolution of this tradition. However, by the early 20th century the figurative boxes were primarily made for sport, prestige and trade (Schildkrout and Keim 1990: 244).

As with the related bark box from the Tervuren Museum collected between 1903 and 1907 (see MRAC 1995: figure 225) whose carver is identified as 'Gataye', the Brill box also is signed by its carver 'Songo Davoi'. Songo is among a number of artists from this early period who can be identified by name. He was an Avongara chief from Rungu. In addition to his signature, the facial features on his work are distinctive (Schildkrout and Keim 1990: 245). Compare for example another figure by Songo in the collection of the AMNH (90.2/1247), with similar notched mouth and chin, rounded eyes, flourished eyebrows, deeply incised coiffure and large ears with front protrusions (ibid.: 247, figure 12.14); see also Arts d'Afrique Noire (Autumn 1984: 38) for another closely related vessel by Songo (ex. Hourdé).