MBAGANI MASK DEMOCRATIC REPUBLIC OF THE CONGO Polychrome wood H.: 30.5 cm (12 in.) A Mbagani mask, Democratic Republic of the Congo Provenance: Collection of Jean-Jacques Rotthier (1932–2009), Brussels, then passed down through the family Public auction: Tajan, Paris, Primitive Art, 21 December 2000, lot no. 48 This remarkable mask is distinguished by its broad, domed forehead, pointed chin and concave eye sockets coated with white kaolin. A prominent triangular nose divides the face above a rectangular mouth in relief. This work bears striking stylistic similarities to a famous Mbagani mask formerly in the collection of Jean Willy Mestach, suggesting that the two sculptures may be the work of the same artist. As Mbagani objects are extremely rare in ethnographic records, their precise ritual functions remain poorly understood. Their stylistic conventions, however, appear to have exerted a significant influence on neighbouring groups. In particular, they feature the remarkable simplification of form characteristic of Lwalwa (Lwalu) masks, marked by concave facial planes, narrow eye slits, circular ears and long, vertical noses. Whilst Lwalwa masks are traditionally associated with hunting activities and initiation rites, the Mbagani examples appear to be more closely linked to local therapeutic practices and the invocation of ancestral protection. A MBAGANI MASK DEMOCRATIC REPUBLIC OF THE CONGO Polychromed wood H.: 12 in. Provenance: Collection of Jean-Jacques Rotthier (1932–2009), Brussels, then by descent Public auction: Tajan, Paris, Arts Premiers, 21 December 2000, lot no. 48 This remarkable mask is characterised by a high, domed forehead, a pointed chin and concave eye sockets rubbed with white kaolin. A sharp, triangular nose bisects the face above a projecting rectangular mouth. The mask shares striking formal similarities with a well-known Mbagani example formerly in the Jean Willy Mestach collection, suggesting that both works may have been carved by the same artist. As Mbagani objects are exceedingly rare in the ethnographic record, their precise ritual functions remain poorly documented. Nevertheless, their stylistic conventions appear to have exerted a significant influence on neighbouring groups. In particular, they share the highly stylised treatment of form found in Lwalwa (Lwalu) masks, characterised by concave facial planes, narrow eye slits, circular ears and elongated vertical noses. Whilst Lwalwa masks are traditionally associated with hunting and initiation rituals, Mbagani examples were likely linked to local healing practices and the invocation of ancestral protection.