Statue commémorative en pierre, région de Noqui, Angola

Gaston Delevoy, 1921
Transmis par descendance
Collection Robert et Suzy Delevoy, Bruxelles
Collection Alexis Bonew, Bruxelles, acquis de Suzy Delevoy en 1992

Good condition overall. Wear consistent with age and use within the culture. Very irregular surface. Broken and glued to the neck. 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.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Gaston Delevoy séjourna au Congo au début des années 1920, afin de développer la sylviculture dans la région du Katanga. En 1925, il publiait, sous le pseudonyme "Chalut", Un an au Congo Belge.

En 1955, Robert Verly publiait dans la revue Zaire, le premier article consacré à la "Statuaire de pierre du Bas-Congo". Parmi les illustrations figuraient les effigies funéraires en pierre, ou mintadi, qu'il collecta dans la région de Noqui en Angola, à proximité de Matadi où furent découverts d'autres témoins de cet ancien art lithique. Tout en soulignant la "diversité extraordinaire de styles" des sujets prédominants ("maternités", "penseurs", "implorants"), Verly précise la certaine unité stylistique - plus en rondeurs, comme ici - de la statuaire du massif de Noqui, due "au matériau employé" (chloro-schiste). Voir Cornet (1978, p. 18, n° 4) pour une sculpture stylistiquement comparable, conservée au musée Pigorini.