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an image of a sculpture of a man with a goat ' s headan image of a wooden statue of a man with a goat ' s heada wooden sculpture of a man with a goat ' s head on it ' s headtwo wooden sculptures of a man and a woman with horns
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33 - IMPORTANT SONGYE STATUE DEMOCRATIC REPUBLIC OF THE CONGO Mad…
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Estimate €40,000 - €60,000
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IMPORTANT SONGYE STATUE DEMOCRATIC REPUBLIC OF THE CONGO Made of wood, horn and copper H.: 85 cm (33½ in.) An important Songye figure, Democratic Republic of the Congo Provenance: Collected in situ by Dr Van Hoorde circa 1934–1935 Arman Collection (1928–2005), Paris Baron Frédéric ‘Freddy’ Rolin (1919–2001), Brussels Christie’s, Amsterdam, African and Oceanic Art from the Estate of the late Baron Freddy Rolin, 2 July 2002, lot no. 262 Pierre Dartevelle (1940–1922), Brussels Jean-Jacques Rotthier Collection (1932–2009), Brussels, then passed down through the family Exhibitions: Monaco, Forum Grimaldi, Arts of Africa: 7,000 Years of African Art, 16 July – 4 September 2005  Tervuren, Belgium, ‘Le Sensible et la Force/Sprekende Beelden’, MRAC, 27 April – 5 September 2004 Bibliography: Neyt (François), ‘Songye. The Formidable Songye Statuary of Central Africa’/‘Songye. The Formidable Statuary of Central Africa, Antwerp: Mercatorfonds, 2004, p. 222, no. 188 Sensitivity and Power, by Baeke, Bouttiaux & Dubois, Tervuren: MRAC, 2004, pp. 50–51, cat. 18 Bouttiaux (Anne-Marie), ‘Sensitivity and Power: a photographic homage to Songye sculptors’, in *Tribal Art Magazine*, no. 35, Summer 2004, p. 67, fig. 9  Arts of Africa. 7,000 Years of African Art, Monaco: Skira, 2005, p. 352, fig. 58c  Baeke (Vivian), ‘Death is not an end: the role of Songye statuary in the cycle of life’, in *Finalité sans fin/Finality without end*, Brussels: BRUNEAF, 2017, p. 113, ill. 6  These four exceptional monumental sculptures bear witness to the power, complexity and spiritual richness of Songye thought. Created as community protectors, these mankishi served as intermediaries between the world of humans and that of the spirits. Whilst smaller figures were intended for individual use, monumental statues such as those presented here watched over entire communities, often remaining active for several generations. The creation of a nkishi relied on the combination of two complementary forms of expertise: that of the sculptor and that of the ritual specialist (nganga). A master sculptor would first carve the figure, paying particular attention to the geometric balance of the composition as well as the subtlety of the volumes and curves. Commissioning a renowned artist enhanced the prestige of the patrons as well as that of the community they represented. The nganga would then activate the sculpture’s power by introducing sacred medicinal substances (bishimba) into the abdominal cavities and the horn at the top. Each material added carried a specific symbolic meaning. Often named after prestigious chiefs, these community mankishi gained their own renown due to their supposed effectiveness in ensuring fertility, healing and protection for those placed under their care. AN IMPORTANT SONGYE FIGURE DEMOCRATIC REPUBLIC OF THE CONGO In wood, horn and copper H.: 33½ in. Provenance: Collected in situ by Dr Van Hoorde, circa 1934–1935 Arman Collection (1928–2005), Paris Baron Frédéric “Freddy” Rolin (1919–2001), Brussels Christie’s, Amsterdam, African and Oceanic Art from the Estate of the Late Baron Freddy Rolin, 2 July 2002, lot 262 Pierre Dartevelle (1940–2022), Brussels Jean-Jacques Rotthier Collection (1932–2009), Brussels, then by descent Exhibitions: Monaco, Forum Grimaldi, Arts of Africa: 7,000 Years of African Art, 16 July–4 September 2005 Tervuren, Belgium, ‘Le Sensible et la Force / Sprekende Beelden’, Royal Museum for Central Africa (RMCA), 27 April–5 September 2004 Bibliography: Neyt (François), *Songye. La Redoutable Statuaire Songye d’Afrique Centrale* / *Songye. The Formidable Statuary of Central Africa*, Antwerp: Mercatorfonds, 2004, p. 222, no. 188  *Sensitivity and Power*, by Baeke, Bouttiaux & Dubois, Tervuren: MRAC, 2004, pp. 50–51, cat. 18  Bouttiaux (Anne-Marie), ‘Sensitivity and Power: a photographic homage to Songye sculptors’, in *Tribal Art Magazine*, no. 35, summer 2004, p. 67, fig. 9  Arts of Africa. 7,000 Years of African Art, Monaco: Skira, 2005, p. 352, fig. 8c  Baeke (Vivian), ‘Death is not an end: the role of Songye statuary in the cycle of life’, in *Finalité sans fin/Finality without end*, Brussels: BRUNEAF, 2017, p. 113, ill. 6  These four exceptional monumental sculptures reflect the power, complexity and spiritual richness of Songye thought. Created as communal protectors, these mankishi (sing. nkishi) served as mediators between the human and spirit worlds. Whilst smaller figures were carved for individual use, large-scale statues such as the four presented here safeguarded entire communities, often remaining active across several generations. The creation of an nkishi required a partnership between artistic mastery and spiritual authority. A master sculptor first carved the figure, paying particular attention to geometric balance and the subtle interplay of volumes and curves. The choice of a renowned carver enhanced both the prestige of the patrons who commissioned the work and that of the community it was intended to protect. A ritual specialist (nganga) then activated the figure’s power by inserting sacred medicinal substances (bishimba) into cavities in the abdomen and the horn projecting from the top of the head. Each material added carried a specific symbolic significance. Often named after celebrated chiefs, these community figures acquired distinct reputations of their own through their perceived efficacy in ensuring fertility, healing and protection.
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About the sale The Jean-Jacques Rotthier Collection: Art from Africa and Oceania
Auction location
Auction time 09/08/2026 at 4:00 PM
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