A Songye Female Power Figure, Democratic Republic of the Congo

the female figure standing on parted legs with domed feet, protruding buttocks, the elongated body with pointed breasts and a magical charge inserted into the abdomen, framed by the hands, the long neck surmounted by an angular head turned dramatically to the side, the face with open mouth bearing teeth, drooping eyes and arching brows, wearing an elaborate coiffure with jagged hairline and with a magical charge in the head; varied dark brown patina with residue.

Peter Loebarth, Hameln
Fred Jahn, Munich

Iowa City, The University of Iowa Museum of Art, Kilengi: African Art from the Bareiss Family Collection, March 27 - May 23, 1999 (for additional venues see bibliography, Roy 1997)

Christopher D. Roy, Kilengi: African Art from the Bareiss Family Collection, Seattle, 1997, pp. 186-187 and 365, fig. 108
--, Kilengi. Afrikanische Kunst aus der Sammlung Bareiss, Hanover, 1997, pp. 190-191 and 369, fig. 108
Christopher D. Roy, "African Art from the Bareiss Collection", African Arts, Summer 1999, Volume XXXII, no. 2, p. 65, figs. 16 a and b

fair condition overall; front of base and feet missing; age cracks on left side of abdomen (partially filled), between shoulders and left side of head; minor insect damage on top of left shoulder; tip of nose missing and restored (shape inconsistent with the other examples from this workshop); right eyebrow, right ear and right breast chipped; permanently mounted on base; abrasions partially toned in with dark pigment, the whole covered with dark pigment and a layer of wax on surface; varied dark brown patina with residue.
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.

This expressive power figure belongs to a small group of Songye sculptures that can be attributed to a workshop in the region of the southern Milembwe, Belande and Eki (cf. Neyt 2004: 52 et seq.). Figures in this style are characterized by long curved feet, angular legs, elongated body, idiosyncratic posture of the hands (resting on the abdomen with the thumbs apart from the other fingers) as well as very distinct facial features: pointed chin, V-shaped open mouth, diamond-shaped nose, drooping eyes, and angular hairline. In addition to this, most figures including the Bareiss figure share facial scarifications in the form of a horizontal line between the outside corner of the eyes and the ears. For other examples by artists from this workshop see Neyt (2004: 70-73, 75 and 99, figs. 30-34, 37, and 62).

Jean W. Mestach (quoted after Roy 1997: 365, text to fig. 108, with reference to personal communication, 1984) has interpreted the figure's iconography as follows: "The statue personifies a terrible and malevolent spirit, and that is why its head is turned, for this expresses hidden intentions, lies, among the Songye. The same representation is found among the Luba of Kasongo Niembo and represents the spirit Umba Kilubi, Prince of Darkness, whose kingdom Kalunga ka Musono is located in the bowels of the earth. In the underworld, he is the ferryman of the river of death, invoked by the sorcerer who calls upon the spirits of the dead."

For other female figures with turned head from the same region see Neyt (2004: 52-60, figs. 12-18). However, the Bareiss figure is the only known example of this rare iconography by an artist from this particular workshop.