The Clark and Frances Stillman Collection of CONGOLESE SCULPTURE

November 24 to February 6,1966 • Cabinda Congo (Brazzaville) 111 Con9° (Leopoldville) :i;i Angola

ZANDE

MANGBETU

ATLANTIC OCEAN

LAKE MWERU This exhibition is devoted to figure sculpture from the Congo elite among the Kuba this did not lead to a "court art" such as as it is represented in the collection of Clark and Frances that of Benin, so well known for Africa. The arts functioned Stillman. They have assembled it, over more than three dec­ within the lives of the people in both the religious and secular ades, with a systematic, scholarly care and esthetic discern­ realms, which were not clearly separated, but rather over­ ment that offer the very best in connoisseurship and collect­ lapped for the larger part. For several decades now, we have ing. Nearly all of the objects date from the last century, a few appreciated African sculpture as one of the great artistic are said to be even older and all bear traces of long handling traditions of the world primarily on an esthetic basis. But the and usage within the culture from which they stem. For these social and religious meaning of an African carving precedes reasons the Museum is particularly pleased to present the and determines its form. In its own cultural context it fulfilled Stillman collection to the public. The importance of this occa­ a function which is fundamental to its essence. This function, sion is further enhanced by the fact that this is the first com­ the way in which a carving was intended to be used, and prehensive exhibition of Congo sculpture in the United States actually was used by the people who made it, is in many since the Brooklyn Museum Exhibition of 1923. instances very difficult to ascertain: essential information is either altogether lacking or only exists in quite inaccurate The area of Africa from which the objects here are shown is form. Moreover, and more important, no clearly defined and traversed by the Congo River with its many northern and neatly limited explanatory categories of the kind we are ac­ southern tributaries. Politically speaking, today it mainly com­ customed to can be applied to an African carving; because prises the Republic of the Congo (Leopoldville), the former the traditional cultures of Africa, of which the objects in this Belgian Congo, and parts of the adjacent Congo Republic exhibition are an expression, shared a world view very differ­ (Brazzaville), Cabinda and Angola. This vast region in the ent from our own. For tribal Africans the spheres of human heart of Africa, extending over the subtropical savanna belt, and superhuman action-the secular and the religious—were and including the tropical rain forests north and south of the not separated, but were tightly interwoven. The here and now Congo River bend, is inhabited by a multitude of tribes. It is and the beyond were a single field of action and considera­ the seat of Africa's Bantu-speaking agriculturalists and has tion for the human being in the course of his daily routine as been the scene of many migrations, and immigrations from well as in his life as a whole. This attitude is embodied in a both north and south. Although culturally and stylistically set of values (social, philosophical, religious) which was com­ each tribe is a self-contained (but dynamic) entity, there are monly shared and accepted by all members of any one tribe. certain traits which are common to most tribes in the culture For us, then, who do not share in the tribal African world view provinces of the Lower Congo, the South Congo and also the (who can only attempt to search for fragments of it)—and this Northeast Congo. The most important single feature tradi­ applies to many contemporary Africans as well as to non- tionally characterizing these cultures has been the formation Africans—the acceptance of an African sculpture in its own of empires under a sacred ruler-the divine king. According terms is very difficult indeed. To take, for example, the mother to the typical African pattern of conquest and assimilation, and child figures from the Western Kongo group: these have invading groups coming from the north and south settled as been described as representing the principle of maternity, to ruling classes among the matrilinear agricultural populations, the exclusion of depicting the biological and/or social mother and organized the existing agricultural village communities as founder of the tribe in a culture where matriarchy is prac­ into states having at their centers a royal court and a support­ tised. Furthermore, they are said to be "sepulchral" monu­ ing aristocracy recruited from their own ranks. Thus we have ments, and memorial figures of venerated persons being the Kongo Kingdom with its vassal states in the Lower Congo; worshipped collectively or individually. the Luba-Lunda, Lunda-Chokwe and Kuba empires in the South Congo; and the states of the Zande and Mangbetu in Such multiple functions (some to the detriment of others) the Northeast. bestowed on this type of sculpture may serve to emphasize a certain inability on our part to grasp its full ana real mean­ Royal courts gave an impetus to an increased need for, and ing. These sculptures may have been employed in all of the appreciation of, the arts; but with the exception of the Shongo said usages: they are neither mutually exclusive—nor, how- ever, necessarily complementary. For someone who shares in WESTERN KONGO STYLE the beliefs of the specific culture from which the work orig­ inated it is simply an embodiment of his traditions and beliefs. 1 Male figure: mounted on a dog; "mirror fetish," pezo. Representation of a malevolent spirit. Formerly collec­ I should like here to acknowledge my indebtedness to Mr. and Mrs. Stillman for giving so generously of their knowledge tion of J. Walschot, Brussels. Wood, glass, metal, paint, and enthusiasm in the preparation of this exhibition. 13" high 2 Standing male figure; "mirror fetish," na moganga. Tamara Northern Representation of a benevolent spirit with curative powers. Wood, glass, metal, hide, feathers, 14W high including feathers

3 Standing male figure; "mirror fetish," na moganga. In accordance with general anthropological practice the pre­ Wood, glass, metal, 5V2" high fix and median syllables have been omitted in Bantu tribal names. For example: Bakuba: Kuba. Bashilele: Lele. Bena 4 Seated male figure; "mirror fetish," na moganga. Wood, Lulua: Lulua. glass, metal, fibre, 9" high 5 Standing male figure; "mirror fetish," na moganga. The ornamented base seems to indicate an early origin. Wood, glass, metal, 73A" high

The exploratory spirit and mercantile interests of the Portu­ 6 Standing female figure; "mirror fetish," na moganga. guese led to the discovery of the mouth of the Congo River in Wood, glass, metal, paint, 8V2" high 1482. Here they encountered a powerful African kingdom surrounded with royal splendor and court ritual. It was the 7 Dog; "mirror fetish." Wood, glass, metal, paint, HV2" s kingdom of the Kongo with adjacent smaller states, notably long, 3 /e" high Loango and Cabinda to the north of the Congo River mouth. 8 Male figure, kneeling with one leg. Wood, glass, metal, all of which were at times tributary to the Kongo empire which paint, 12V2" high attained its greatest extent about the middle of the 16th cen­ tury. For two centuries the kingdom of the Kongo remained 9 Seated male figure. Probably an ancestral figure. Wood, in close and friendly contact with Portugal, submitting to its 7V2" high Christian influence. The Kongo were so successfully mission- 10 Kneeling mother and child figure. Probably used in a ized that it was no longer than a decade after their first con­ fertility cult. Wood, glass, metal, paint, 10" high tact with the explorers that the first Christian church was founded among them. The frequently occurring theme of the 11 Seated mother and child figure. Same function as 10. mother-and-child figure is often considered a reminiscence Wood, glass, 15V4* high of Kongo Christianity. Mother-and-child figures are however 12 Seated mother and child figure. Same function as 10. ubiquitous throughout Africa and are to be found in regions Wood, metal studs, glass, paint, 7" high of the Congo, for instance, which only had their first contact with western civilization by the very end of the last century. 13 Seated mother and child figure. Same function as 10. Wood, 14Vs" high

The western Kongo style group comprises sculptures which 14 Kneeling mother and child figure. Memorial figure. have been variously attributed to the Kongo proper, the Vili Wood, paint, glass, 22" high of Loango. the Bwende of Cabinda, and the Sundi of the 15 Standing female figure. Peripheral to Kongo style, Yombe region. Adjoining them are the Bembe who have much though collected among the Kongo. Wood, metal studs, cultural and stylistic affinity with the Kongo group. These fibre, 6Va" high tribes are considered as sharing in a general artistic tradi­ tion. An exclusive association of distinct stylistic traits with 16 Staff: surmounted by kneeling female figure. Wood, any one tribe cannot yet be made on this basis. metal, 31" high 17 Staff: surmounted by mother and child figure. Wood, 33 Slit drum: with head. Wood, 17" long

metal, 55" high 7 34 Whistle. Wood, 4 /8" high 18 Staff: surmounted by kneeling female figure. Wood, 35 Whistle. Wood, 6" high metal studs, 23V4" high 36 Fly whisk. Wood, hide, fur, copper wire, 20" high 19 Staff: surmounted by standing male figure; two snakes entwine the shaft. Collected at mouth of Congo River. 37 Pipe: in form of a standing figure. Wood, 7Vs" high Wood, 36" high 38 Double cup. Wood, 3" high 20 Seated male figure. Sceptre. Ivory, 6V4" high 39 Neckrest: the platform is supported by a seated female 21 Upper part of a staff: surmounted by standing male figure. Wood, 6VB" high figure. Loango. Wood, 13" high 40 Hairpin. Wood, 6V2" high, Va" wide 22-3 Two gun-powder flasks. Wood, 7Vs" and 33/*" high 41 Standing mother and child figure. Strong Kongo influ­ 24 Seated male figure. Guardian figure, ntadi. Boma— ence. Wood, 9W high Muserongo. Steatite, 161A" high

25 Seated male figure. Guardian figure, ntadi. Boma— 42 Standing male figure. Suku influence. Wood, 13W' high Muserongo. Steatite, 10" high

SUKU BEMBE 43 Standing female figure. Wood, 12" high 44 Standing male figure. Wood, 9V4" high 26 Standing figure. Wood, ivory, 8s/s" high 27 Standing female figure. Wood, ivory, metal, 5Vs" high TEKE 28 Standing male figure. Wood, ivory, 5Va" high 45 Standing male figure. Old Teke style. Wood, 14" high 29 Standing female figure. Wood, ivory, 53A" high 46 Standing male figure. Wood, 14V2" high 30 Squatting male figure. Wood, ivory, 6V2" high 47 Standing female figure. Wood, 9" high 31 Standing male figure. Wood, ivory, 10" high 48 Standing double figure: male and female back to back. Wood, beads, animal teeth, 7V4" high The tribes populating the Kwango-Kwilu River basin to the east of the Kongo group live mostly in village farming com­ 49 Neckrest: the platform is supported by a double female munities. Among them the Yaka and, living in close symbiosis figure, back to back. Mbala or Teke—Fumu. Wood, 6V4" with them, the Suku, have been under the direct influence of high the Lunda; indeed they founded an empire with Lunda over­ lords as the ruling class. Other tribes were pushed into their LUMBO present areas of habitation under pressure from Lunda in­ vaders from the south: the Pende from the upper Kwango, 50 Suspension hook: in form of a drummer. Wood, 57e" the Mbala from the far south. North of the confluence of high Kwango and Kasai the Boma are noteworthy as having ruled a kingdom with a queen as reigning monarch. NORTHERN KWANGO AREA YAKA 51-2 Pair: standing male and female figures. Wood, 8V4" 32 Kneeling female figure. Wood, metal studs, 8V4" high and 10" high BOMA territories. The famous Lunda Empire of Mwata Yamwo was founded among the Lunda by a Luba dynasty about 1665. 53 Standing female figure. Wood, HV2" high Soon after, the Lunda rapidly extended their rule over the Chokwe and into the Kwango-Kwilu area. Many of the Central 54 Standing female figure. Wood, 10" high Bantu tribes were dominated by the Lunda throughout the 19th century. In 1885, however, the Chokwe successfully re­ belled; they succeeded in overthrowing the Lunda and estab­ MBALA lishing Chokwe rule over the Lunda Empire until 1889, when they were forced back by the Lunda into the boundaries of 55 Standing female figure. Wood, 9" high their own territory. 56 Standing female figure. Wood, beads, metal, I6V2" high There has thus been a close relationship between the Chokwe 57 Standing female figure. Wood, IOV4" high and Lunda tribes over a long period. It has been rather firmly 58 Staff: with head. Wood, 42V*" high believed so far that it was the Chokwe who carved, while the Lunda obtained sculpture from them; Lunda are said to have 59 Standing mother and child figure. Wood, 10" high made very little sculpture of their own.

HUANA CHOKWE-LUNDA 60-1 Two amulets. Bone, 23A" and 3V4" high

3 61a Amulet. Miniature figure. Ivory, 2 /a" high 72 Standing female figure, hamba. Representation of a tutelary spirit. Lunda style group. Wood, 17" high

PENDE 73 Standing male figure: carrying a weapon in the right hand, kaponya. Chokwe style group. Wood, metal, 62 Standing figure: with male and female attributes. Old leather, 141A" high Pende style. Wood, 123/4" high 74 Stool: the platform is supported by a seated female fig­ 63 Whistle. Wood, 3V2" high ure. Chokwe style group. Wood, metal studs, 93/4" high 64 Snuff box. Ivory, 27a" high 75 Stool: the platform is supported by a seated figure. Chokwe style group. Wood, 6V2" high 65 Five amulets: miniature masks, minyaki. Ivory, bone, brass, 17a" to 23A" high 76 Stool: the platform is supported by a kneeling mother and child figure. Chokwe style group. Wood, metal, 13" 66 Whistle: in form of a European key. Ivory, 4" high high 67 Ceremonial adze. Wood, metal, 16" high 77 Neckrest: the platform is supported by an antelope. 68 Cup: in form of a head. Wood, paint, 5V2" high Lunda style group. Formerly collection of J. Walschot, Brussels. Wood, 6" high 69 Cup: in form of a head. Wood, 5V2" high 78 Chair: monoxyle. Chokwe style group. Formerly collec­ 70 Cup: in form of a standing figure. Wood, 6" high tion of J. Walschot, Brussels. Wood, metal studs, 14" 71 Double cup. Pende or Chokwe? Wood, 3V4" high high 79 Chair: ornamented with groups of figures. Chokwe style group. Wood, metal, hide, 39" high, 14V2" wide, 17" deep

According to oral history the Chokwe and Lunda, now living 80 Chair: ornamented with groups of figures and linear as neighbors in the south Congo, are said to have come in decoration. Chokwe style group. Wood, hide, 22V4" high, the distant past from the east and settled in their present 9V2" wide, 17" deep 81 Pipe: the stem with female figure. Chokwe style group. 96 Standing female figure: depicting a hunchback. Prob­ Wood, metal, 93A" long ably representing a spirit, vidye. Wood, IOV2" high

82 Suspension hook. Lunda style group? Wood, fibre, 5V2" 97 Male figure standing on a quadruped. Formerly collec­ high tion of G. Dehondt, Brussels. Wood, 974" high

83 Percussion instrument, sansa. Lunda style group? 98 Standing male figure. Wood, beads, 8Va" high Wood, iron, 8V4" high 99 Standing female figure: elongated trunk, very short, thin 84 Staff: surmounted by female figure with child on back. arms. Probably an ancestor figure and fertility image. Attributed to either style group: Lunda or Chokwe. Wood, 10W' high Wood, 22" high 100 Standing half figure. Wood, metal studs, 9" high 85 Staff: with head. Attributed to either style group: Lunda 101 Standing male figure: with a horn inset in his head. or Chokwe. Wood, 313A" high Probably a "fetish" figure. Wood, 11" high 86 Sceptre: with head. Chokwe style group. Wood, 19" high 102 Kneeling female figure. Probably an ancestor figure and 87 Comb. Lunda style group. Wood, 6Va" high, 2V4" wide fertility image. Wood, 47a" high 88 Comb. Chokwe style group. Wood, 73/a" high, 2V»" wide 103 Standing female figure: with cup on top of her head. Probably a fertility figure. Wood, 7" high 89 Comb. Chokwe style group. Wood, 8Va" high, 3Va" wide 104 Standing male figure. Probably an ancestor figure. 90 Hairpin. Unknown provenance. Ivory, 63/a" high Wood, 53A" high 91 Comb. Chokwe-Lunda style group. Wood, 5V2" high, 105 Standing female figure: holding a bowl before her with 2V2" wide both hands, kabila ka vidye. Probably a divination fig­ 92 Comb. Chokwe style group. Wood, 5Va" high, 23/a" wide ure. Formerly collection of J. Walschot, Brussels. Wood, 19" high 93 Sceptre: surmounted by a female figure. Peripheral to Chokwe style. Said to have been collected in Angola: 106 Seated female figure: holding a bowl between both Plateau de Luanda. Wood, metal, 17V2" high hands, and with outstretched legs, kabila ka vidye. Prob­ ably a divination figure. Wood, 7Va" high 107 Stool: the platform is supported by a seated female fig­ The Luba are a conglomerate of the autochthonous south­ ure. Wood, beads, 16" high eastern Congo population and two immigrant groups from the North: the Songe and Bui. The first Luba kingdom was 108 Stool: the platform is supported by a standing female founded by the Songe, Kongolo, by the end of the 15th century. figure with reversed feet. Wood, 15" high From then on the history of the Luba is one of conflicts, ex­ 109 Stool: the platform is supported by a standing female ternal and internal, and of the extension of their empire over figure. Wood, I8V4" high the vast area of the southeastern Congo as far as the Lakes of Tanganyika and Mweru in the East. The Kanioka, Tabwa, 110 Seated female figure: holding a pipe, "cascading" hair- and Bemba are a part of this culturally and linguistically uni­ dress. The object was originally a neckrest, the platform form group. is now missing. Wood, 5" high 111 Neckrest: the platform is supported by a male and LUBA female figure facing and holding each other. Wood, 7V2" high 94 Standing female figure. Wood, beads, 12V2" high 112 Neckrest: the platform is supported by a kneeling 95 Standing male figure. Probably an ancestor figure. female figure. Formerly collection of H. Lavachery, 3 Northern Luba style. Wood, 15" high Brussels. Wood, 5 /a" high 113 Neckrest: geometric type. Wood, 6V2" high 130 Standing male figure. Ancestor figure. Wood, HV4" high

114 Neckrest: the platform is supported by a standing 131 Standing male figure. Ancestor figure. Wood, beads, female figure. Wood, 6V4" high 153/4" high

115 Bowstand: with face. Wood, metal, 26V2" high

116 Staff: surmounted by a seated female figure. Wood, 52" The Songe are an immigrant group from the north who settled high east of the Kuba and north of the Luba. They were instru­ mental in founding the first Luba kingdom about the end of 117 Staff: surmounted by a standing couple. Wood, 493/4-' the 15th century. The predominant type of sculpture from the high Songe is a wooden figure (the so-called "fetish") which to 118 Staff: with head. Wood, metal, 53V2" high the Songe is endowed with certain powers to be found in the extraneous substances affixed to it. 119 Staff: surmounted by a seated female figure. Wood, metal, 61" high SONGE 120 Double cup: in the form of a head. Wood, 4" high, 7V4" long 132 Standing male figure. Wood, metal studs, 7" high

121 Necklace: of a notable. Ivory, green beads, brass, 21" 133 Torso of a male figure. Wood, 6" high long 134 Standing male figure. Wood, metal studs, 7V2" high 122 Oracle implement, katatora; also called lubuko or 135 Standing male figure. Wood, metal studs, 6V2" high kashekesheke. Wood, beads, 5" high 136 Standing male figure. Wood, 7Va" high 123 Oracle implement, katatora. Wood, beads, 5Va" high 137 Standing male figure. Wood, metal studs, horn, 19" high 124 Oracle implement: two figures facing and holding each other, katatora. Wood, beads, 5" high 138 Standing male figure. Wood, horn, snakeskin, I8V4" high 125 Seven amulets. Ivory or bone, 3" to 33/4" high 139 Standing male figure. Wood, metal studs, horn, beads, 16" high KANIOKA 140 Standing male figure. Wood, metal studs, iron blade, tin 126 Squatting female figure: depicting a pregnant woman. strip, teeth, I2V2" high Wood, 9V2" high 141 Standing male figure. Wood, horn, snakeskin, I3V2" high

127 Pipe: in form of a seated female figure. Wood, beads, 142 Standing male figure. Wood, horn, string of cowries and 15Va" high seeds, hide strip, two bundles, 3OV2" high 143 Standing female figure. Wood, I8V2" high TABWA 144 Standing female figure. Eastern Songe. Wood, 11V2" high 128-9 Pair: standing male and female figures. Wood, beads, 181/2"and I8V4" high 145 Standing male figure: depicting a hunchback. Old Songe style. HW high 146 Standing male figure: with head turned sideways. Old BEMBA Songe style. Wood, 6V2" high (These figures, known as Bemba, have recently been de­ 147 Standing male figure (formerly mounted on a metal rod). scribed as being made by the Kasingo, a neighbouring tribe, Collected between Kasongo and Kongolo, Lualaba for the Bemba.) River. Wood, 6" high 150 148 Standing female figure. Ivory, 5V2" high the centralizing power. The Shongo are said to have immi­ grated from the northeast during the reign of their sixth king 149 Neckrest: the platform is supported by a standing figure. in or about the 6th century, and their genealogy names 124 Old Songe style. Wood, 6" high divine kings. The Shongo elite has developed a court art in a 150 Stool: the platform is supported by a kneeling female series of royal statues carved in the image of a king and cer­ figure. Wood, metal, ivory, beads, 19" high tain paraphernalia related to court ritual. The art of the Kuba, however, is of a different character: two-dimensional, finding 151 Stool: the platform is supported by a standing female expression in linear decoration applied to utensils such as figure. Luba influence. Formerly collection of L. Under­ cups and boxes. Many of the neighboring tribes carve in wood, London. Wood, ivory, beads, 153/4" high Kuba fashion, yet with styles distinct enough to be recognized 152 Staff: surmounted by standing male figure. Wood, 3774 as, for instance, Lele, Wongo, and Songe Meno. high

153 Oracle implement: janus-faced, katatora. Luba influ­ KUBA ence. Wood, iron bells, 7" high 169 Neckrest: the platform is supported by a head. Wood, 154 A male and a female figure, placed head to head. Prob­ 9" high ably a divination implement. Formerly collection of P. Guillaume, Paris. Ivory, 5" high 170 Pipe: the bowl in form of a head. Wood, metal, ivory, 53A" high 155 Amulet: phallic symbol. Worn by childless women; sus­ pended head down. Ivory, 4" high 171 Pipe: the bowl in form of a head. Wood, 5Va" high

156 Ceremonial axe. Wood, copper, 1672" high 172 Pipe: the bowl in form of a head. Wood, metal, 472" high, 1472" long 157 Ceremonial adze. Wood, copper, iron, 1874" high 173 Royal messenger staff. Wood, 26" high 158 Knife. Wood, iron, 87a" high 174 Two bracelets. Ivory, 33/4" and 37a" diameter

5 LULUA 175 Enema. Wood, 7 /a" high 176 Enema. Wood, 10V4" high 159 Five standing figures. Wood, 65/a" to 8" high 177 Spoon: the handle in form of a stylized body with head 160-1 Two male figures with spikes. Wood, both 1272" high and arms. Wood, 12" long 162 Tobacco mortar: in form of a crouching figure. Wood, 178 Oracle animal, itombwa. Wood, 10 Va" long 872" high 179 Oracle animal, itombwa. Wood, fibre, 10Va" long 163 Crouching figure. Formerly collection of P. Guillaume, 3 Paris. Wood, 43A" high 180 Oracle animal: with human head, itombwa. Wood, 9 /4" long 164 Crouching figure: with reversed head. Wood, 47a" high 181 Oracle board: with human head, itombwa. Wood, 10" 165 Standing figure: with raised arms. Wood, 772" high long

166 Small cup in form of a head: the bottom is open. Ivory, 182 Spear. Metal, wood, 6072" high 174" diameter 183 Parade sword. Wood, metal, 25" high 167-8 Pair: seated mother and child figure; standing male fig­ 184 Ceremonial knife. Wood, metal, 14" high ure, carrying a gun. Wood, paint, 8" and 83/a" high

Boxes

The Kuba comprised a federation of eighteen tribes in the 185 Box: in form of a house. Collected in the Lubudi river bend of the Sankuru River with a ruling elite, the Shongo, as area by Leo Frobenius on his first Central African Ex- pedition (DIAFE) from 1904-1906. Wood, 47a" high, 7Vi" style. Wood, 674" high long, 43/a" wide 207 Cup: in form of a standing female figure. Wongo style. 186 Three crescent-shaped boxes. Wood. Wood, 872" high

A 1272" long 208 Cup: in form of a standing female figure. Wongo style. B 113/a" long Wood, 872" high C 8Va" long 209 Cup: with lid in form of a head. Wongo style. Wood, 187 Three square boxes. Wood. 772" high A 772" x5Va", 272" high s B 6"x5 /a", 272" high 210 Whistle. Wongo style. Ivory, 374" high C 774" x 57a", 3" high 211 Cup: in form of a head. Wongo style. Wood, 874" high 188 Round box. Wood, 572" diameter, 472" high 212 Cup: in form of a head with legs. Lele style. Wood, 772" 189 Long, narrow box: razor container. Wood, 1274" long, 2" high wide, 13/a" high 213 Drinking horn. Songe Meno. Horn, 8" long

Cups 214 Gong. Songe Meno. Collected by Leo Frobenius on his first Central African Expedition (DIAFE) from 1904-1906. 190 Cup: in form of a drum. Wood, 87a" high Wood, 4Va" high

3 - 191 Cup: in tankard form. Wood, 6 /4 ' high 215 Gong. Songe Meno. Wood, 472" high

192 Cup: in tumbler form. Wood, 57a" high 216 Cup. Bunda. Wood, 5" high

193 Cup: in form of a drum. Wood, 67a" high 217 Cup. Bunda. Wood, 274" high

194 Cup: in tumbler form. Wood, 53/4" high

195 Cup. Wood, 374" high

196 Cup. Wood, 274" high DENGESE 197 Cup: in form of a head. Wood, 67a" high

198 Cup: in form of a head. Collected in 1897 by Comman­ 218 Standing female figure. Wood, 1874" high dant Lemaire in the Sankuru region. Wood, 772" high 219 Standing male figure: cup on top of head. Wood, 1672' 199 Cup: in tankard form. Wood, 67a" high high 200 Cup: in tumbler form. Wood, 4Va" high

201 Cup: in goblet form. Wood, 5" high

202 Cup: in goblet form. Wood, 43/4" high MANGBETU 203 Cup: in form of a head. Wood, 6V4" high

204 Cup: in form of a head with ram's horns. Royal emblem 220 Seated female figure. Wood, paint, fibre, 1772" high

in form of a cross is to be seen in back. Wood, 97a" high - 221 String instrument. Wood, hide, fibre, 1672 ' long 205 Cup: in form of a standing male figure. Wood, 1274" high 222 Knife with sheath. Wood, iron, hide, fibre, 11" high

223 Knife. Wood, paint, iron, 12" high KUBA STYLE GROUP 224 Knife. Ivory, iron, 103/a" high

206 Cup: in form of a head with phallic symbol on neck. Lele 225 Box top with head. Wood, bark, fibre, 11" high ZANDE

226 Neckrest: in form of an ellipse. Wood, bark, fibre, 9" high, 1574" long

227 Standing female figure. Wood, metal. 9" high

228 Standing female figure. Zande. or related style. Wood. 974" high

LEGA

229 Mask. Ivory. 55/a" high

230 Spoon. Ivory, 7*W high

231 Standing female figure. Wood, 12" high

232 Knife. Ivory. 1174" high

233 Twelve figurines. Ivory or bone. 37a" to 674" high

NORTH CENTRAL CONGO

234 Backrest, also used as stool. Attributed to the Mongo. Mbole. Kundu tribes. Wood. 63A" high. 13" wide, 53/4-' deep

235 Throwing knife. North central Congo. Iron, 1474" high. 1374" wide 236 "Executioner's" knife. Probably Ngala. Iron, copper, wood. 213/4' high

MBOLE

237 Standing male figure. Wood, paint. 33" high 238 Standing male figure. Wood. 17" high

NGBAKA

239 Pipe. Wood, metal, bone mouthpiece. 1372" high 240 Standing female figure. Possibly Ngbaka. Wood. 13" high 39 44 45 56

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240 SUGGESTED READING Royale de Belgique. Classe des beaux-arts. Memoires, collection, 4°, 2. ser. t. 9, fasc. 2)

Bastin, Marie-Louise. Art decoratif Tshowke. Lisboa, 1961. 2v. Torday, Emil and T. A. Joyce. Les Bushongo. Bruxelles, 1910. (Diamang Publicacoes culturais, 55) (Musee du Congo Beige. Annales, ethnographie. anthro­ pologic, ser. 4, t. 2) Brooklyn Museum. Primitive Negro art, chiefly from the Bel­ gian Congo, with illus. and notes by Stewart Culin. Verly, Robert. La statuaire de pierre du Bas-Congo. Zaire, 9, Brooklyn, 1923. 1955: 451-529.

Burssens, Herman. Yanda-beelden en Mani-Sekte bij de These and other titles may be consulted in the Museum Azande. Tervuren, 1962. 2v. (Muse Royal de I'Afrique Library. Centrale. Annales, n.s. 4°, Sciences humaines, 4)

Burton, W. F. P. Luba religion and magic in customs and be­ lief. Tervuren, 1961. (Musee Royal de I'Afrique Centrale. Annales, ser. 8°, Sciences humaines, 35) Exposition Universelle et Internationale de Bruxelles, 1958. Art in the Congo. Bruxelles, 1958. Fagg, William. Tribes and forms in African art. New York, 1965. Fagg, William and Eliot Elisofon. The sculpture of Africa. New York, 1958.

Frobenius, Leo. Im Schatten des Kongostaates. Berlin, 1907. Kjersmeier, Carl. Centres de style de la sculpture negre africaine. Copenhague, 1937-38. v. 3, Congo Beige; v. 4, Cameroun, Afrique Equatoriale Francaise, Angola, Tan­ ganyika Rhodesie. Kochnitzky, Leon. Negro art in the Belgian Congo. New York, 1958.

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