With a printed label for 'Pottier Emballeur', inscribed 'Exp. art negre New York' in black ink, and a small label inscribed 'Ratton' in black ink in a different hand

Charles Ratton, Paris
Carlo Monzino, Lugano, acquired from the above
Private Collection, acquired from the above
Sotheby's Paris, September 30, 2002, lot 37
American Private Collection, acquired at the above auction

The Center for African Art, New York, African Aesthetics: the Carlo Monzino Collection, May 7 - September 7, 1986

Susan M. Vogel, African Aesthetics: the Carlo Monzino Collection, New York, 1986, p. 28, cat. no. 20

Very good condition overall. Scattered nicks, chips, scratches, and abrasions, consistent with age and use. Two vertical cracks to the interior, one running towards the proper right side and another running to the rim of the mask at the centre. Other cracks in places, including to the proper right side of the mask beginning from in front of the ear to the rim of the mask with a loss at the rim. Old losses to the tips of the horns. Fine polychrome seemingly original throughout.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

xAccording to Lamp, 'Baga and Nalu art, legends, cultural history, and ritual are permeated with the notion of struggle and cooperation between mankind and the natural features of their world.  This balanced tension especially characterizes the costumed spiritual representation called Banda [...] a composite creation, carved from a single piece of wood, incorporating the human head with its eye, nose, and its braided and crested coiffure, a crocodile jaw, antelope horns, chameleon tail, and serpent [...].' (Lamp, See the Music, Hear the Dance, 2004, p. 74).

'Before the twentieth century Banda seems to have represented a high and powerful spiritual being and appeared only to privileged society elders (Appia 1943, pp. 158, 160; Bowald 1939, pp. 126, 128; Voix V, 7, 1930, p. 13).  It reportedly figured in ritual designed to protect the villagers against crocodile attacks, human malevolence, and various impending dangers, especially at the time of male initiation to mark the attainment of adolescence, adulthood, and elder status.  It also appeared on such events as marriage, harvest celebrations, and new planting ritual, and the appearance of the new moon, all auspicious occasions.' (Lamp, ibid.)

In addition to Pablo Picasso's famous Baga D'mba headdress, the influence of which on his art has been well documented (see Rubin, "Primitivism" in 20th Century Art, 1984, p. 275 et. seq.), the artist also owned a Baga or Nalu Banda mask, which is visible in many photos of Picasso at his Villa La Californie in Cannes (see Stepan, Picasso's Collection of African & Oceanic Art, 2006, p. 128, cat. no. 41).  It is unclear when Picasso acquired his Banda mask and therefore difficult to establish which of his works might have fallen under its specific influence. The relationship of Baga art to Picasso's work, both as a direct source and as an artistic affinity across cultures, is well expressed in the colorful and imaginative abstractions of the Banda mask🎃,🔯 and it is evident that such a sculpture would have appealed to Picasso.