FEATURE 132 FIG. 9 (left): Male fi gure. Mumuye, Nigeria. Wood. H: 59 cm. Private collection. Photo: © Vincent Girier Dufournier, Paris. FIG. 10 (right): Female fi gure. Mumuye, Nigeria. Wood. H: 96.5 cm. Private collection, courtesy of Sotheby’s. Photo: © Sotheby’s. FIG. 11 (facing page): Figure. Mumuye, Nigeria. Wood, metal. H: 62.5 cm. Private collection, courtesy of Jacques Germain, Montréal. Photo: © Hughes Dubois, Paris/ Brussels. fi gural sculpture, which he began in the late 1970s. In line with increasingly accepted ideas about the importance of personal agency, Herreman believes that individual carvers—or perhaps workshops with masters and students or followers— were responsible for the seemingly infi nite range of stylistic variations on the same theme. Aside from offering a summary of some of the fi ndings and insights of many of the earlier mentioned sources, our publication also introduces Maesen’s research to a broader audience, allowing for comparison with the observations and interpretations of his published contemporaries. Sidney Littlefi eld Kasfi r for the Fowler Museum at UCLA, offers the most complete summary of our current knowledge of Mumuye and other Benue River Valley art. Aside from essays by Berns, by Susan Elizabeth Gagliardi, and by Bovin, it is Fardon’s essay on Mumuye fi gures that contains the most extensive review of the literature on the topic. A new monograph by the present authors, just published by 5 Continents Editions in Milan, differs in that it does not aspire to comprehensiveness. Rather, its main purpose is to share the results of Herreman’s long-time research into the forms and styles of Mumuye
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