- 92
PENDENTIF EN IVOIRE, HUNGAAN, RÉPUBLIQUE DÉMOCRATIQUE DU CONGO |
Estimate
50,000 - 70,000 EUR
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Description
- elephant ivory
- haut. 7 cm ; 2 3/4 in
Pendentif en ivoire, Hungaan, République Démocratique du Congo
Provenance
Collection privée, France
Transmis par descendance
Transmis par descendance
Condition
Excellent condition overall. Wear consistent with age and use within the culture. Beautiful patina coherent with ritual handling.
"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."
"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."
Catalogue Note
En 1905, lors de son expédition dans la région du Kwango, Leo Frobenius illustra dans ses notes des figurines en ivoire portées au cou par les femmes Hungaan et M’Bala. Si la fonction de ces anciennes figurines converties en parure semblait oubliée, elles étaient considérées par les anciens comme les derniers témoins d’une tradition immémoriale, d'un « âge d'or de la sculpture en ivoire » (Valluet, « Hungaan et peuples proches » in Felix, White Gold, Black Hands. Ivory Sculpture in Congo, vol. 3, 2012, p. 128-189). Ce corpus emblématique des figurines en ivoire Hungaan s’articule en deux types principaux : le premier en ronde-bosse, dont le personnage est sculpté pour être vu de profil (Sotheby’s, Paris, 14 décembre 2011, n° 64), le second en forme de plaque, montrant un personnage représenté de face en bas relief et dont ce pendentif constitue un chef-d’œuvre.
Sur la cinquantaine de figurines apparentées, conservées pour la plupart dans des musées européens, celle-ci se distingue par la prodigieuse clarté du geste sculptural. La pose – agenouillée, les bras repliés sur le haut du buste – s’énonce dans le parfait équilibre des formes et des dynamiques, aboutissant dans le très rare motif central des lignes en pointillé se croisant sur l’abdomen. La tête, classiquement surdimensionnée, s’épanouit dans l’ample volume du front auréolé par la coiffe en diadème, parée d’ailettes, illustrant la parure réservée aux dignitaires Hungaan. A la rigueur monumentale de la composition répond la grande sensibilité des modelés, accentuée par les reliefs émoussés de la patine d’usage. Autrefois liée à la notion de fertilité, à celle de la métempsychose ou encore au culte des ancêtres (Valluet, idem), cette statuette s’impose à l’apogée d’un style, remontant vraisemblablement à près de deux siècles.
In 1905, during his expedition to the Kwango region, Leo Frobenius made a reference, in his illustrated sketch notes, to ivory figurines worn around the neck by Hungaan and M'Bala women. Although the role of these ancient figurines converted into adornments seemed to have been forgotten, they were considered by their forbearers as the last testaments to an immemorial tradition, a "golden age of ivory sculpture" (Valluet, “Hungaan et peuples proches” in Felix, White Gold, Black Hands. Ivory Sculpture in Congo, vol. 3, 2012, p. 128-189).
This emblematic corpus of Hungaan ivory figurines is divided into two main types: the first type, in the round, with its figure carved to be seen in profile (Sotheby's, Paris, December 14, 2011, n°64), and the second type in the form of a panel, depicting a figure facing the viewer in low relief, of which the offered lot is an exceptional example.
Out of approximately fifty related figurines, mostly preserved in European museums, this Ivory pendant stands out for the prodigious clarity of the sculptural gesture. The pose - kneeling, arms bent on the upper part of the bust - unfolds in perfectly balanced forms and dynamics, flourishing into the rare central motif of dotted lines crossing over the abdomen. The head, classically over-sized, blossoms into the ample volume of the forehead crowned with a diadem coiffure flanked with small wings, an example of the adornments dedicated to Hungaan dignitaries. The monumental rigour of the composition is rounded out by the great sensitivity of the outline, highlighted by the dulled edges of the patina of use. Once linked to the notion of fertility, metempsychosis or to the cult of ancestors (Valluet, ibid), this statuette clearly stands as the epitome of the style, and most likely dates back two centuries.
Sur la cinquantaine de figurines apparentées, conservées pour la plupart dans des musées européens, celle-ci se distingue par la prodigieuse clarté du geste sculptural. La pose – agenouillée, les bras repliés sur le haut du buste – s’énonce dans le parfait équilibre des formes et des dynamiques, aboutissant dans le très rare motif central des lignes en pointillé se croisant sur l’abdomen. La tête, classiquement surdimensionnée, s’épanouit dans l’ample volume du front auréolé par la coiffe en diadème, parée d’ailettes, illustrant la parure réservée aux dignitaires Hungaan. A la rigueur monumentale de la composition répond la grande sensibilité des modelés, accentuée par les reliefs émoussés de la patine d’usage. Autrefois liée à la notion de fertilité, à celle de la métempsychose ou encore au culte des ancêtres (Valluet, idem), cette statuette s’impose à l’apogée d’un style, remontant vraisemblablement à près de deux siècles.
In 1905, during his expedition to the Kwango region, Leo Frobenius made a reference, in his illustrated sketch notes, to ivory figurines worn around the neck by Hungaan and M'Bala women. Although the role of these ancient figurines converted into adornments seemed to have been forgotten, they were considered by their forbearers as the last testaments to an immemorial tradition, a "golden age of ivory sculpture" (Valluet, “Hungaan et peuples proches” in Felix, White Gold, Black Hands. Ivory Sculpture in Congo, vol. 3, 2012, p. 128-189).
This emblematic corpus of Hungaan ivory figurines is divided into two main types: the first type, in the round, with its figure carved to be seen in profile (Sotheby's, Paris, December 14, 2011, n°64), and the second type in the form of a panel, depicting a figure facing the viewer in low relief, of which the offered lot is an exceptional example.
Out of approximately fifty related figurines, mostly preserved in European museums, this Ivory pendant stands out for the prodigious clarity of the sculptural gesture. The pose - kneeling, arms bent on the upper part of the bust - unfolds in perfectly balanced forms and dynamics, flourishing into the rare central motif of dotted lines crossing over the abdomen. The head, classically over-sized, blossoms into the ample volume of the forehead crowned with a diadem coiffure flanked with small wings, an example of the adornments dedicated to Hungaan dignitaries. The monumental rigour of the composition is rounded out by the great sensitivity of the outline, highlighted by the dulled edges of the patina of use. Once linked to the notion of fertility, metempsychosis or to the cult of ancestors (Valluet, ibid), this statuette clearly stands as the epitome of the style, and most likely dates back two centuries.