Interiors & Decorations

Jewellery & Precious Stones

Watches, Pens & Lighters

Fashion

Coins & Stamps

Comics & Animation

Classic Cars, Motorcycles & Automobilia

Wine, Whisky & Spirits

Asian & Tribal Art

Trading Cards

Toys & Models

Archaeology & Natural History

Sports

Music, Movies & Cameras

Books & Historical Memorabilia

The finest objects brought to you by {name}

Dimitri André

A fragmented Hemba head, region Tanganyika, village Mbululam RDC, placed on a metal stand, oval shaped head, the mouth and the end of the jaw, a pointed nose, two almond shaped eyes, a small forehead, ears positioned at a lower angle, the hair is pulled back in the Hemba style; some cracks, traces of use, signs of use. Certificate of provenance. Incl. stand.

“The traditional African Hemba art, from territories long banned for a long time, was little known in the West until its triumphant appearance through collections in the early 1970s. Among the Hemba, ancestor worship takes precedence over other values of society and this priority is sensitive in sculpture. The artists, often grouped in workshops, perform images of their ancestors. These figures are ritually present during clan ceremonies. This statuary quality is often highlighted by a beautiful patina. Primarily, the Hemba tribal art was related to the Luba style, but for some time it has been recognized for its own qualities as a distinct style.” Relics and effigy of ancestors, in CONGO River, Francois Neyt, Quais Branly Museum, p. 254-255

The Hemba people live around the Luika River in the southeastern part of the Democratic Republic of Congo in a territory between the Congo River and Lake Tanganyika. Historically, Hemba society was decentralized and segmented. Unlike the neighboring Luba, it did not have a central royal court. Each village was an autonomous entity where individuals identified with their own clan, which had a particular history of conquests, migrations, and alliances. The genealogy of each clan, which was well known going back eight, ten, or even fifteen generations, was essential to the chief to legitimate his claim of ownership over a specific territory. In the pre-colonial period, the general belief that no ancestors of a family group ever left their village of origin was a determining principle to the identity and authority of each Hemba clan. Upon death, important ancestors assumed benevolent powers and were meant to keep their descendants healthy, make women and soil fertile, and provide plenty of game. The founder of the clan was considered a particularly powerful and sacred ancestor. Each chief assumed his responsibilities based on his genealogical link with this individual, and only his direct descendants were eligible to succeed him.

Heroes Enshrined: Hemba Art

Through sculpted wooden statues (singiti, pl. lusingiti) designed to shelter the spirits of the clan’s ancestors the Hemba could maintain a direct and lasting engagement with them. Designated structures were erected in each village to preserve these statues. In these ancestral mausoleums, petitions were made to them, and they were frequently coated with palm oil, cassava flour and chicken blood. According to the Hemba scholar François Neyt, each important family generally possessed three or four ancient statues which preserved the memory of the genealogy. They served as a tangible evidence of a chief’s ties with a territory and the validation of the legitimacy of his authority. Neyt therefore called them "genealogical milestones" (La Grande Statuaire Hemba du Zaire, 1977, p. 489), perpetuating the memory of the great personalities they honored. Each singiti was associated with oral traditions that linked the statue to the history of a family. Through these exemplary life stories, these statues served as ambitious examples of the role of a leader. In the precolonial era, these commemorative statues, placed at the political and spiritual epicenter of all Hemba communities, were collectively invoked to intervene for the well-being of the villagers. The presence of singiti was essential to the establishment of a sense of unity and social cohesion in the village. These statues performed as physical proof of the reciprocity of the world of the living and the dead in a relationship of dependence and belonging. Source: A Hemba Masterpiece by Bruno Claessen, By Christies.


Photo: wj (last photo sequence)

Hemba sculptures, particularly the singiti (ancestor figures), are renowned for their serene and introspective expressions, reflecting the community's emphasis on lineage, authority, and ancestral veneration. The figures often feature elongated faces, elaborate coiffures, and detailed beards, symbolizing the idealized traits of past leaders. These artworks were not merely decorative but served as conduits for communication between the living and the ancestral realm. The Niembo de la Luika workshops, located in the heart of the Hemba region, are particularly noted for producing these masterpieces. Collection Marc Ladreit de Lacharrire.

Historical Context and Colonial Impact
The region of Tanganyika, now part of modern-day Tanzania, was under German colonial rule from 1884 to 1918 and later became a British mandate until its independence in 1961. During these periods, numerous cultural artifacts were removed from the region and are now housed in various European museums. For instance, the Ethnologisches Museum in Berlin holds over 10,000 objects from present-day Tanzania, many of which are from the Hemba and other ethnic groups. Wikipedia.

Museum Collections and Exhibitions
In Berlin, the Humboldt Forum's "Histories of Tanzania" exhibition critically examines the colonial era and its impact on the region's cultural heritage. The exhibition presents over 10,000 objects from Tanzania, including Hemba artifacts, and offers multiple narratives to challenge colonial perspectives.

Internationally, institutions like the Art Institute of Chicago and the Metropolitan Museum of Art in New York house Hemba sculptures. For example, the Art Institute's "Ritual Head" is a mid-19th-century piece characterized by its elongated face and intricate coiffure, reflecting the Hemba's artistic traditions . Similarly, the Met's "Commemorative Portrait of a Chief" showcases the Hemba's ability to convey tranquility and nobility through their carvings.

Conclusion
A fragmented Hemba head from the Tanganyika region would not only be a valuable piece of art but also a poignant reminder of the region's rich cultural heritage and the enduring legacy of its people. Such an artifact would offer a tangible connection to the past, providing insights into the spiritual and artistic practices that defined the Hemba community. Source Chat GPT.

Wood - Fair condition

Head - Hemba - DR Congo  (No Reserve Price)

African & Tribal Art

Reserve price

No reserve price

Buy now

Closing date

Wednesday

1 March

Thursday

28 February

tomorrow

Tuesday

today

Friday

Monday

Budget

From

Location

France

Belgium

Germany

The Netherlands

Spain

Austria

Italy

Luxembourg

Portugal

Switzerland

Denmark

Finland

Japan

Romania

United States

Dimensions

Height

Width

Depth

Object

Tribal art and objects

Tribal masks

Tribal sculptures statues carvings and figurines

Figure

Dance mask

Mask

Sculpture

Painting

Tribal jewellery and adornments

Fetish figure

Book

Tribal textiles and clothing

Statue

Shield

Ancestor figure

Figurine

Carving

Figurehead

Musical instrument

Tribal furniture

Tribal books manuscripts and catalogues

Pendant

Vessel

Cane

Headrest

Country of origin

DR Congo

Nigeria

Mali

Côte d'Ivoire

Côte d’Ivoire

Congo

Gabon

Burkina Faso

Cameroon

Benin

Ghana

Africa

Togo

Tanzania

Democratic Republic of the Congo

Angola

Chad

Ethiopia

South Africa

Liberia

Sierra Leone

Haiti

Madagascar

Material

Wood

Bronze

Terracotta

Glass

Metal

Stone

Aluminium

Bone

Copper

Iron (wrought)

Brass

Leather

Shell

Textiles

Cotton

Iron (cast/wrought)

Iron

Steel

Canvas

Horn

Silk

Paper

Patinated bronze

Coral

Glass (beads)

Gender

Unisex

Condition

Good condition

Fair condition

Good condition - used with small signs of aging & blemishes

Excellent condition

Fair condition -  heavily used & with possibly minor parts missing

Good

Excellent condition: barely used with minimal signs of wear

Needs restoration

Good condition - used with some signs of wear

Good condition, see description

Good condition - used with small signs of ageing

As new

Very good

Overall in good condition with traces of ageing and usage

Fair condition - used with visible signs of wear

Brand New

Ungraded

Fair

In very good condition

Mixed / Multiple

As new - unused

Vintage - used with visible signs of wear

Reasonable

Poor - heavily used with major cracks, damages or major parts missing

Extras

No extra's

In replacement packaging

Signed by author

Dust jacket

Tipped in plates

Period

Mid 20th century

Late 20th century

2000-2010

1930-1940

Early 20th century

1920-1930

1940-1950

1960-1970

1990-2000

1970-1980

1950-1960

1980-1990

1900-1910

2010-2020

2020+

1910-1920

Late 19th century

Early 19th century

Mid 19th century

1850-1900

1400-1450

1650-1700

21st century

1450-1500

1500-1550

Certification

No laboratory report

Subject

Portrait

Regional interest

Reference

Tribal art and culture

Anthropology

Applied art

Illustrated

African & Tribal Art

This object is no longer available, but there’s still lots to explore

Head - Hemba - DR Congo (No Reserve Price)

Popular in African & Tribal Art

1239 objects

Related collections