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A SUPERB KONGO-VILI POWER FIGURE, Democratic Republic of the Congo
Description
Provenance
John D. Graham, New York, 1920s-30s
Frank W. Crowninshield, New York, acquired from the above
Chaim and Renee Gross, New York, acquired from the above between 1943 and 1944
Exhibited
Museum of African Art, Washington, D.C., The Sculptor's Eye: The African Art collects
ion of Mr. and Mrs. Chaim Gross, 1976 (additional venues: Worcester Art Museum, Worcester, November 5, 1976 - January 2, 1977; Georgia Museum of Art, University of Georgia, Athens, March 27 - May 1, 1977; Cincinnati Art Museum, Cincinnati, May 17 - July 17, 1977)
Pace Gallery, New York, African Accumulative Sculpture, September 21 - October 19, 1974
The Center for African Art, New York, Africa Explores: 20th Century African Art, May 16 - December 31, 1991
Literature
Warren M. Robbins, African Art in American collects
ions, New York, 1966, p. 204, fig. 283
Arnold Rubin, African Accumulative Sculpture, New York, 1974, p. 52, 67, cat. 108
Arnold Rubin, The Sculptor's Eye, Washington, D.C., 1976, p. 69, cat. 58
Warren M. Robbins and Nancy I. Nooter, African Art in American collects
ions, Washington and London, 1989
Susan Vogel, Africa Explores: 20th Century African Art, Munich, 1991, p. 263, cat. 128
Condition
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 stat.mes nt made by Replica Shoes '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.
Catalogue Note
This superb Vili power figure still has all its magic charges attached, including one charge behind the mirror on its abdomen, a wrapping around its neck, numerous acorn-shaped plaited attachments filled with powerful substances pending down the back, one bamboo plug inside each ear, and a large clay cap with brass tacks on top of the head. The figure embodies a powerful spirit with a wide-open mouth and intricately carved teeth, combining the iconographies described as bata-matu and booka (see Lehuard 1989: 108): while the spirit is screaming out loud, its ears are plugged, showing its unwillingness to accept any word of reconciliation. Once unleashed, this spirit is a powerful force most difficult to appease.