Masque, Yoruba/Nago, Bénin

Collection privée

Good condition overall. Wear consistent with age and use within the culture. Old patinated losses on both ears and on the headdress. Wide open crack on the proper right side of the headdress running to the rear. Some holes on top of the headdress. Consistent losses on the periphery of the neck base. Deep brown patina, lifted in places to reveal some red pigments behind. 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."

"En dépit des variations locales, le but fondamental du festival Gelede est de rendre hommage au pouvoir mystique de la femme et d'en recueillir ainsi tout le bienfait possible" (Drewal, Gelede : Art and Female Power among the Yoruba, 1983, p. 7).

Depuis les Yoruba du Sud-Ouest du Nigeria jusqu'aux Ketu Yoruba et les Nago du Bénin, l'interprétation de cet hommage à la dignité de la femme a varié selon les régions, les ateliers et les sculpteurs. Selon Henry et Margaret Drewal, "les cimiers Gelede des peuples Yoruba de l'extrême Ouest, en particulier des Ohori et des Nago sont plutôt larges, et se distinguent par des têtes aplaties et des parois peu épaisses [...] A Ahori, à Anago et dans plusieurs autres aires Gelede, le cimier repose sur le sommet de la tête du danseur" (idem, p. 264-265). Ce très beau cimier au visage tendu vers l'avant, selon le style Nago, se distingue par la superbe finesse de la sculpture, et par sa profonde patine dont les polychromies successives attestent l'usage prolongé.