Pende Mask, Democratic Republic of the Congo

Charles Ratton, Paris
Dr Helmut Beck, Stuttgart, acquired from the above in 1941
Sotheby's, London, The Beck Collection, October 8, 2002, lot 21
Myron Kunin, Minneapolis, acquired at the above auction

Good condition for an object of this type and age. Bottom section of chin extension is neatly broken and glued. Some losses in geometric surface carving as seen in catalogue illustration. Minor marks, nicks, scratches, abrasions, and small cracks consistent with age and use. Holes and edges with abrasions and wear. Fiber and fabric attachments on the reverse are dry and fragile. A paper label on the reverse inscribed "3341". Fine aged surface with remains of black, white, and reddish brown pigment.
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.

Masks with long projections extending beyond the chin, known as kiwoyo or giwoyo, were one of a few types that the Pende used in theatrical performances. In these contexts, dancers with this type of mask would perform in the bush and wear the headdresses on the skull like a baseball cap, such that the mask’s expression looks skyward. Since this horizontal arrangement prevented viewers from seeing the mask’s face, the intentional emphasis became the mask’s striking appearance in profile. Giwoyo masks may have represented a deceased dignitary lying flat in a coffin during a funeral ceremony, in reference to an ancient ritual that allowed a passage for the spirits of the deceased to exit the village.

Charles Ratton, the preeminent dealer of indigenous cultures’ art in the 20^th century, propelled the evolution of taste in this type of art among Western audiences.  With close ties to the Parisian avant-garde, including André Breton, Tristan Tzara and Paul Éluard, Ratton helped to elevate the status of so-called 'primitive' arts, which he considered worthy of equal attention in the canons of world art.  Ratton has recently been the subject of new scholarship, including the publication and exhibition at the Musée du Quai Branly, Paris entitled Charles Ratton, L’invention des arts “primitifs,” held in 2013.