Das ist der Preis für die folgende Bewertung: [ Tribal ], 1985.0

Beschreibung : Face mask deangle Dan, Elfenbeinküste wood, black patina, of oval hollowed form, a convex facial plane: the bulging forehead separated from the facial plane by a horizontal deepened line, the tapering chin thorn-like protruding, narrow slit eyes flanking a flat nose with broad notstrils, a diamond-shaped mouth with metal teeth below, forehead and nose accentuated by a vertical ridge, pierced around the rim, slightly dam., minor old missing parts (upper lip, left corner of the eye), cracks (chin/underside, head/backside), small place of repair (drilled hole on the upper rim), backside: old label 3, inscribed with red pigment 29-1936-4, and A 58 in white pigment, Inagaki base, deangle literally means a joking and smiling mask character. The name implies that a friendly and beautiful appearance is described, destined to entertain the people The dean mask characters belong to the circumcision camps (mbon) of young boys and girls, which are always situated in the holy forest nearby the village. The camp is protected by the invisibible forest ghost nana, who appoints the deangle mask characters. They act as mediator between camp and village and are responsible for food and protection of the initiates. They neither sing nor dance and they are not accompanied by musicians, but they joke with the women and ask them to send plenty of food to the camp. The mask figure wears a high tapering conical headcrest of red fabric and is dressed with a tippet and abundant grass fibre skirt, holding cows tails as whisks in both hands. The artist and autodidact Earl Horter (1881-1940) was known for his realistic etchings and aquatints of urban scenes. He exhibited at the Panama-Pacific Exposition in San Francisco in 1915 and won several prices at exhibitions of prints. In 1999 the Philadelphia Museum of Art had a major exhibition on Horter's life and works. The accompanying catalogue Mad for Modernism, Earl Horter and His Collection, explains and illustrates his meaning as an artist. Here the present mask is published, for Horter not only was a collector of modern art (Picasso, Braque, de Chirico and Matisse), but in the mid-1920's had begun to collect African art as well. An interest fostered by Albert C. Barnes, who in 1922 established the Barnes Foundation in Philadelphia, which is home to one of the world's largest collections of Impressionists and early Modern paintings, as well as important examples of African sculpture. There are no extant records of Horter's acquisitions of African art. But through correspondance between Albert C. Barnes and Paul Guillaume (1891-1934), a collector and dealer in African Art living in Paris, it can be assumed, that Horter purchased most of his works with Guillaume around 1925. H: 26 cm, (5055/006) Provenance possibly Paul Guillaume, Paris, France Earl Horter, Philadelphia, USA Sotheby's New York, November 15 and 16, 1985, lot 64 Sotheby's New York, May 17, 2002, lot 48 Published in Shoemaker, Clarke and Wierzbowski, Mad for Modernism: Earl Horter and His Collection, 1999, p. 143, ill. 88, catalog e for the exhibition at the Philadelphia Museum of Art, March 7-May 16, 1999 Literature Fischer, Eberhard, Himmelheber, Hans, Die Kunst der Dan, Museum Rietberg, Zürich 1976, p. 41 f.
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