Fang Reliquary Head, Gabon

Vladimir Golschmann (1893-1972) Collection, New York, Chef d’orchestre

Madame V. Golschmann (1907-1996) Collection, New- York/ Paris, 

Loudmer-Poulain, Paris, Art Primitif, 16 April 1975, lot 145, reprod. backcover (Charles Ratton expert)

Charles- François Ratton, Paris, possibly by descent

Edith Muchova Collection, France

Loudmer, Paris, Arts Primitifs, 7- 9 December 1991, lot 129 

Armand Arman (1928-2005) Collection, Vence, France/New York, U.S.A.

Corice Arman Collection, New York City, NY, U.S.A.

Didier Claes, Brussels, acquired in 2010

Richard Carchon, Brussels, 2011

Didier Claes, Brussels

Private Collection, Paris, acquired from the above

Marseille, La Vieille Charité, Arman & l’Art Africain, 23 June-30 October 1996

New York, The Museum for African Art, African Faces, African Figures; The Arman Collection, 9 October 1997-19 April 1998

Arman et l’Art Africain, Marseille, Réunion des Musées nationaux, 1996, n°37, p. 87

African Faces, African Figures. The Arman Collection, New York, The Museum of African Art, 1997, n° 84, pp. 118-119

Pignatelli M., "Firmato Arman", in Antiquariato, no.334, February, 2009, p. 103

Von Lintig, B. & Dubois H., African Impressions. Tribal Art and Currents of Life/Empreintes d'Afrique. L'art tribal au fil des fleuves, ed. Didier Claes, Milan, 5 Continents, 2011, pp. 152-153, n° 61

Associated with the Byeri cult, statuary is the main sculptural expression of the Fang people. The Fang sought help and protection from their ancestors in exchange for offerings and prayers. Both a relic and a sculpture, the Byeri was consulted before any major action was to be taken. The ritual - prayers, libations, and sacrifices - was performed when a village was to be moved, a new plantation established, a marriage arranged, or a war to be fought.

A fundamental pillar of society, ancestors were the guardian of the living world. As a result, all the religious beliefs and rituals that shaped social life revolved around the figure of the ancestor. This ancestor worship was conducted at the lineage level within the privacy of the family, and the father was both the protector and owner of the ancestral relics as well as the sole officiant.

The Byeri reliquary consists of a cylindrical basket or box made from bark and called a nsekh byeri, where the bones of the ancestor were placed.

Text by Pierre Amrouche:

In the classical style attributable to the Betsi group, this small Fang reliquary head was likely designed to be carried during the frequent moves of this quasi-nomadic people - either to relocate to other farming lands due to soil depletion and poor harvests, or during wars waged to expand their territory: Fang tribes have always fought wars as part of their expansion from the heartland of central Africa. It should be noted that during the French colonisation of Gabon, the Betsi group was at the forefront of the Fang migration, which took place far to the south of Libreville in the Lambaréné region towards the lower Ogooué lakes. So it made sense for warriors to take Byeri reliquaries with them on their campaigns to ensure their protection, both spiritual and magical. In order to do so the object had to be easily portable and affixed to a equally small reliquary box.

In keeping with its religious function, this head carved from hardwood reflects spirituality in all its features: in its high, domed forehead, the seat of thought, and in its downcast gaze, which filters through eyes set in large sockets beneath arched eyebrows. Direct eye contact is forbidden in these cults, where the officiants are required to show respect. A magical object but also one of strength, as expressed in the hollowed-out teeth carving that frame the open mouth above a resolute chin. Another sign of religious use is the patina that coats the entire piece with a thick layer of red padauk powder mixed with palm oil and sacrificial blood.

Provenance, history and probable elements.

This head first appeared at a Loudmer-Poulain auction in Paris on 16 April 1975, presented by Charles Ratton as the expert, under lot number 145, reproduced twice, and listed as originating fromt the Franco-American Goldschmann collection. Unsold, it was then acquired by Ratton, who had likely originally sold it earlier to the Goldschmanns himself. This piece then resurfaced at a public auction held by Etude Loudmer at Drouot in December 1991, listed as lot 129 and reproduced on p. 91. This time, it was presented by Charles Ratton's son with the mention “former Charles Ratton collection”. It was purchased by Arman and became part of his own collection (No 37, Arman et l’Art Africain, Marseille 1996). Later owners are listed in the provenance notes.

A particular feature of this Fang head is that another nearly identical “twin” exists, almost certainly also from the Ratton collection, reproduced by Himmelheber in 1960 (photo p.301), but preserved with its reliquary box; this second head is now part of the Musée Dapper collection. These two Byeri heads are identical in every respect, undoubtedly carved over the same time period and by the same artist. Doubles are common in African art, and in Fang art; sculptors were masters, initiates, having honed their skills and sculpting techniques through years of rigorous training; they knew how to use features from other pieces produced in the same workshop to their advantage. On this topic, see a recent article published by Elena Martinez-Jacquet in Tribal Art, highlighting the homogeneity of three Fang Byeri, undoubtedly by the same hand, with a few minor differences, all authentic and ancient.

This Byeri Fang head, measuring 31 cm in height, is a perfect exemplar of Fang religious art. Beneath its beautiful coiffure comprising three thick braids, the face exudes an inner strength and power evoking the spirit of ancestors, whom it has honoured many times with offerings, as evidenced by the thick sacrificial patina.