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Fri 05 Jul

Ndoma Baoule portrait mask, Ivory Coast Wood with brown to black-brown patina H. 25 cm - L. 16 cm Provenance : - According to family tradition, acquired on July 1, 1937 at the Maurice de Vlaminck sale, Etude Alphonse Bellier, Hôtel Drouot (lot 27 ?) - Passed on by descent Beneath a headdress combed into fine vertical strands, this Ndoma mask features a high forehead adorned with three seed-shaped scarifications. The supple line of the eyebrow arch seems to protect the closed gaze, with delicately curved eyelids. The straight yet gentle line of the nose is punctuated by small wings. Below, the mouth opens to reveal tiny teeth, the design of which corresponds both to the sober lateral scarification in the lower part of the cheeks, and to the treatment of a schematic beard on the periphery of the cheeks. Like two purely ornamental elements, marked by sober geometric traguses, the slightly overhanging ears are two semi-circles that extend over the entire face. The vigorous internal carving hollows out the eyes and mouth area into three distinct areas, with a fairly wide wall at the edge of the work. A black lacquer, partly preserved, lends its fleshiness to the composition. Described in the literature as portrait masks, Ndoma masks are above all intended to celebrate an ideal image, one that obeys the Baoule canons of human beauty, both aesthetically and morally. With a soothed expression, closed eyes and a sense of interiority and contemplation. (...) Imposing a code, a human arrangement on the chaos of nature. (Alain-Michel Boyer, Baoule, Editions 5 Continents, 2008, page 69, 70). The remarkable combination of the polished surfaces of the forehead and cheeks, the delicacy of the features and the strength emanating from this mask of restrained intensity, make this a very fine example of the type. A passionate "discoverer" with Matisse and Derain in the early days of the 20th century of what was then called "Negro art", the Fauvist artist Maurice de Vlaminck lived surrounded by African and Oceanic productions. It was through what he describes as a real shock, in a café in Argenteuil, that a statuette with powerful lines from Africa appeared to him. He was the first artist of his time to acquire a work of this origin, and although unlike Picasso, for example, this discovery was not integrated into his own work, it became a real passion. In the course of his misfortunes, Vlaminck was forced to resell some of the pieces in his collection. In 1937, for example, under the hammer of Maître Alphonse Bellier, a major sale took place of a mixture of Western and African works. The description of the mask we are presenting today, and the dimensions given in the catalog, suggest that it was presented as lot 27 at the July 1, 1937 sale. Since then, it has never left the family home of its original purchaser. Addendum Despite unanswered requests, we have not been given access to the archives of Charles Ratton, the expert in this sale. Expert: Emmanuelle MENUET [email protected]

Estim. 3 000 - 4 000 EUR