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Anthropomorphic Vessel

CultureMangbetu peoples
Dateearly 20th century
MediumEarthenware
DimensionsOverall: 11 inches (27.94 cm)
Credit LinePurchase: William Rockhill Nelson Trust through the George H. and Elizabeth O. Davis Fund
Object number90-8/2
On View
On view
Gallery Location
  • L9
Collections
Exhibition History
Fired Brilliance: Ceramic Vessels from Zaire, The University of Missouri-Kansas City Gallery of Art, Kansas City, MO, February 11-March 16, 1990, no. 41
Gallery Label
In early-20th-century northeastern Zaire, anthropomorphic pottery emerged as a new, prestigious ceramic form associated with rulership. The pots, which were produced until the mid-20th century, were inspired by local Mangbetu peoples' hairstyles and elongated heads, shaped by binding them during infancy. Scholars believe that early examples were made by male potters of the neighboring Azande peoples working in the court of a Mangbetu king.  Ruling elites of the Mangbetu, Azande and neighboring peoples commissioned anthropomorphic pots, such as these two, which were presented to visiting dignitaries and collected by Europeans and Americans.
Provenance

With Marc Leo Félix (Tribal Arts SPRL), Brussels, Belgium, no. 41, by March 1990;

Purchased from Félix by The Nelson-Atkins Museum of Art, Kansas City, MO, 1990.

Published References

Fired Brilliance: Ceramic Vessels from Zaire, exh. cat. (Kansas City, MO: The University of Missouri-Kansas City Gallery of Art, 1990, unpaginated, (repro.).

Newsletter (The Nelson-Atkins Museum of Art, December 1990): cover, 2, (repro.).

Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 87, (repro.).

Catherine Futter et al., Ceramics: Highlights of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 3, 50, (repro.).

Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.


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