FANG MASK GABON Polychrome wood H.: 43 cm (16? in.) A Fang mask, Gabon Provenance: Collection of Jean-Jacques Rotthier (1932–2009), Brussels, then passed down through the family Public auction: Christie’s, New York, Important Tribal Art, 5 May 1995, lot no. 117 This highly stylised mask bears witness to a pivotal moment in the history of Fang art. During the 19th century, the colonial authorities banned the judicial practices associated with the Ngil society, whose masks were distinguished by the simplicity and purity of their forms. A new tradition of masks then developed under the name Ekekek. Works from this period are characterised by bolder lines and more expressive forms, notably prominent brow ridges, which are sometimes interpreted as echoing contemporary European fashions. In terms of style, this mask stands at the crossroads of these two traditions. It retains the understated elegance characteristic of Ngil masks whilst foreshadowing the more powerful forms associated with Ekekek. Its white kaolin coating—a colour closely linked to the world of the ancestors and notions of justice—further reinforces this connection. As such, it stands as a remarkable testament to the evolution and continuity of Fang artistic traditions. A FANG MASK GABON Polychromed wood H.: 16? in. Provenance: Jean-Jacques Rotthier Collection (1932–2009), Brussels, then by descent Public auction: Christie’s, New York, Important Tribal Art, 5 May 1995, lot no. 117 This highly stylised mask embodies an important artistic and historical transition in Fang art. During the nineteenth century, colonial authorities prohibited the judicial practices associated with the Ngil society, whose masks were characterised by their austere and refined forms. In response, a new masking tradition emerged, known as Ekekek. These later masks adopted more pronounced and expressive features, including prominent eyebrows that have occasionally been interpreted as reflecting contemporary European fashions. Stylistically situated between these two traditions, this mask combines the restrained elegance of Ngil sculpture with the more robust and expressive forms associated with the Ekekek period. Coated with white kaolin, a material closely associated with ancestral spirits and notions of justice, it stands as a compelling testament to the adaptability and continuity of Fang artistic traditions.