Anthropomorphic mask - Luba - DR Congo
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€ 55
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Selected by Julien Gauthier
A decade of experience in historical arms, armour, and African art.
Estimate € 300 - € 350
 | €55 |
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The anthropomorphic Luba mask from the Democratic Republic of the Congo, dating to the mid-20th century, is 43 cm high and comes from a private collection with its stand.
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Description from the seller
Anthropomorphic Mask – Luba – Democratic Republic of the Congo
Origin: Democratic Republic of the Congo (Congo-Kinshasa), southeastern Congo
Culture / Ethnic group: Luba
Material: Carved wood, deep patina and plant fibers
Stand: The work comes with its original custom-made display stand.
- An exclusive, richly illustrated catalogue accompanies the Wirtz Collection, with a detailed entry devoted to each of the works presented. ( available to order )
- Previously unpublished: A dated and signed composition entitled After the Wirtz Collection, offering a pictorial evocation of the collection’s interior as it might have been depicted in 1965.
Provenance
Formerly in the private collection of a member of the Wirtz family, Antwerp (Belgium), a family historically active in the travel industry.
According to information provided directly by her heir, this object was reportedly brought back from the Congo in the 1960s and subsequently kept within the family.
The family collection was carefully preserved and displayed in a dedicated room, arranged in the style of a private collector’s cabinet, where the works were brought together and showcased in an environment specially devoted to their display.
Acquired directly from the heir, with whom this sale is being conducted in collaboration.
Previously unpublished: A dated and signed composition entitled After the Wirtz Collection, offering a pictorial evocation of the collection’s interior as it might have been depicted in 1965.
Description & Study of the Work
Anthropomorphic mask attributed to the Luba of southeastern Democratic Republic of the Congo.
A form of striking purity. Here, the sculptor seems to have deliberately eliminated every superfluous element in order to concentrate the full power of the work in a few essential lines. A broad, convex forehead, two almond-shaped eyes, a long, perfectly vertical nose, an open mouth and two raised trilobed motifs are all it takes to create a face of exceptional presence.
The silhouette is particularly successful. The forehead sweeps into a broad, continuous curve before the face gradually narrows toward the chin. This construction gives the mask an almost perfect balance between the softness of its volumes and its geometric rigor.
The eyes are certainly one of the most fascinating details of the piece. Wide, elongated and deeply open, they are framed by a fine raised ridge that accentuates their almond shape. Their perfectly controlled placement creates a fixed, silent, almost unreal gaze.
Between them descends an extremely pared-back nose, reduced to a long, straight ridge. Seen from three-quarter view, its relief becomes much more pronounced, revealing just how much this sculpture, which appears very simple from the front, actually relies on a subtle construction of volumes.
The two trilobed motifs carved on the cheeks introduce a remarkable departure from this restraint. Placed symmetrically, they function almost like graphic signs applied to the face. Their lighter surface contrasts with the wood’s deep reddish-brown tone and immediately draws the eye.
The mouth, simply opened in the material, is the final point of tension in the composition. No smile, no grimace: only this dark opening, which heightens the enigmatic character of the face.
The patina is superb. Deep, warm and nuanced, it shifts from luminous reddish brown to almost black areas. The variations in tone, old abrasions and visible surface marks give the wood a richness that only a long material history can produce.
A substantial fringe of plant fibers remains at the base of the mask, carefully secured around its lower edge. It creates a striking contrast with the almost abstract perfection of the sculpture: the smooth, controlled face is answered by an organic, dry and irregular material. Museum collections also preserve masks attributed to the Luba that combine wood carving with raffia fibers.
It is precisely this contrast that makes the work so beautiful: the extreme sophistication of the form set against raw material.
Viewed from the front, the mask has an almost absolute serenity. From three-quarter view, it becomes much more sculptural: the curve of the skull, the projection of the nose, the relief of the eyes and the opening of the mouth gradually emerge, giving the whole an astonishing depth.
International collections also document several mask traditions attributed to Luba artists, carved from wood and painted, bearing witness to the diversity of this production in southeastern Congo.
A work of exceptional elegance, whose strength lies in restraint: no excess, no unnecessary effects, only a commanding line, a deep patina and a face reduced to its essentials. A sculpture of astonishing modernity and magnetic presence.
Anthropomorphic Mask – Luba – Democratic Republic of the Congo
Origin: Democratic Republic of the Congo (Congo-Kinshasa), southeastern Congo
Culture / Ethnic group: Luba
Material: Carved wood, deep patina and plant fibers
Stand: The work comes with its original custom-made display stand.
- An exclusive, richly illustrated catalogue accompanies the Wirtz Collection, with a detailed entry devoted to each of the works presented. ( available to order )
- Previously unpublished: A dated and signed composition entitled After the Wirtz Collection, offering a pictorial evocation of the collection’s interior as it might have been depicted in 1965.
Provenance
Formerly in the private collection of a member of the Wirtz family, Antwerp (Belgium), a family historically active in the travel industry.
According to information provided directly by her heir, this object was reportedly brought back from the Congo in the 1960s and subsequently kept within the family.
The family collection was carefully preserved and displayed in a dedicated room, arranged in the style of a private collector’s cabinet, where the works were brought together and showcased in an environment specially devoted to their display.
Acquired directly from the heir, with whom this sale is being conducted in collaboration.
Previously unpublished: A dated and signed composition entitled After the Wirtz Collection, offering a pictorial evocation of the collection’s interior as it might have been depicted in 1965.
Description & Study of the Work
Anthropomorphic mask attributed to the Luba of southeastern Democratic Republic of the Congo.
A form of striking purity. Here, the sculptor seems to have deliberately eliminated every superfluous element in order to concentrate the full power of the work in a few essential lines. A broad, convex forehead, two almond-shaped eyes, a long, perfectly vertical nose, an open mouth and two raised trilobed motifs are all it takes to create a face of exceptional presence.
The silhouette is particularly successful. The forehead sweeps into a broad, continuous curve before the face gradually narrows toward the chin. This construction gives the mask an almost perfect balance between the softness of its volumes and its geometric rigor.
The eyes are certainly one of the most fascinating details of the piece. Wide, elongated and deeply open, they are framed by a fine raised ridge that accentuates their almond shape. Their perfectly controlled placement creates a fixed, silent, almost unreal gaze.
Between them descends an extremely pared-back nose, reduced to a long, straight ridge. Seen from three-quarter view, its relief becomes much more pronounced, revealing just how much this sculpture, which appears very simple from the front, actually relies on a subtle construction of volumes.
The two trilobed motifs carved on the cheeks introduce a remarkable departure from this restraint. Placed symmetrically, they function almost like graphic signs applied to the face. Their lighter surface contrasts with the wood’s deep reddish-brown tone and immediately draws the eye.
The mouth, simply opened in the material, is the final point of tension in the composition. No smile, no grimace: only this dark opening, which heightens the enigmatic character of the face.
The patina is superb. Deep, warm and nuanced, it shifts from luminous reddish brown to almost black areas. The variations in tone, old abrasions and visible surface marks give the wood a richness that only a long material history can produce.
A substantial fringe of plant fibers remains at the base of the mask, carefully secured around its lower edge. It creates a striking contrast with the almost abstract perfection of the sculpture: the smooth, controlled face is answered by an organic, dry and irregular material. Museum collections also preserve masks attributed to the Luba that combine wood carving with raffia fibers.
It is precisely this contrast that makes the work so beautiful: the extreme sophistication of the form set against raw material.
Viewed from the front, the mask has an almost absolute serenity. From three-quarter view, it becomes much more sculptural: the curve of the skull, the projection of the nose, the relief of the eyes and the opening of the mouth gradually emerge, giving the whole an astonishing depth.
International collections also document several mask traditions attributed to Luba artists, carved from wood and painted, bearing witness to the diversity of this production in southeastern Congo.
A work of exceptional elegance, whose strength lies in restraint: no excess, no unnecessary effects, only a commanding line, a deep patina and a face reduced to its essentials. A sculpture of astonishing modernity and magnetic presence.
Details
Ethnic group/ culture
Luba
Country of Origin
DR Congo
Period
Mid 20th century
Sold with stand
Yes
Condition
Excellent condition
Title of artwork
Anthropomorphic mask
Height
43 cm
Width
0 cm
Depth
0 cm
Provenance
Private collection
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