D.R. Congo

Wood
44 cm

Provenance:
Gustave Van Geluwe (1881-1962) Collection, Belgium (since 1956)
Carlo Van den Bossche Collection, Antwerp
Marcel Mabille (1902-1986), Brussels
Thence by descent

Published:
Henri Kerels, "L'art nègre dans la Collection Van Geluwe", in Revue Congolaise Illustré, no.9, 28, September 1956, p.21
Tanguy Eeckhout, Steven Jacobs, Maarten Liefooghe, Maisons d'art moderne, Private collections in Belgium 1945-1980, MER. B&L, Ghent, 2020, p.104 (ill.)

Exhibited:
Verviers, Société Royale des Beaux-Arts; Düsseldorf, Kunstverein; Otterlo, Museum Kröller-Müller, Ostend, Kursaal; Royal Museum of Fine Arts, Antwerp, Verzameling G. Van Geluwe, March - September 1956

Luba cupholder of the rare mboko type, distinguished by a composition structured around a central, prominent cup. The seated female figure is conceived in close relation to this receptacle, her compact, powerful volumes reinforcing its centrality. The carving privileges bold, clearly articulated forms, with an emphasis on mass and presence. The cup is topped by a cone-shaped lid, decorated with concentric circular motifs.
According to tradition, mboko figures served as sacred symbols of kingship. The receptacle would contain white kaolin, used to anoint the body and invoke the protection of ancestral spirits. These works also played a role in divination practices. Referred to as kabila ka vilye (“daughter of the spirit”), such figures were associated with fertility and protection: they could be placed before the dwelling of an expectant mother, where offerings were deposited to ensure the well-being of both mother and child. Diviners likewise displayed them outside their homes to receive gifts.
This example is distinguished by its provenance. It formed part of the collection of Gustave Van Geluwe (since 1956), a collector closely associated with Flemish Expressionism and a close friend of Constant Permeke, with whom he shared a sustained interest in African art. A photograph documents the sculpture prominently displayed in Van Geluwe’s residence.
The surface shows a developed patina and clear traces of sustained handling, attesting to prolonged use. These features, together with stylistic considerations, support a dating to the early 20th century.