81 atypical works less often seen in private collections, such as a rare Bassa female fi gure (fi g. 17) and a group of ivory objects that includes a Sapi-Portuguese bowl, a Yoruba Ifa bowl (fi g. 18), and a monumental Bamun trumpet. This is a high point in the exhibition, where encounters between masterpieces occur and both the seriousness and the imagination of this committed collector fi nd expression as he strives to transmit a universal message. Two exceptionally refi ned female fi gures, a Luluwa maternity (fi g. 19) and a Luba fi gural bow rest (fi g. 20), are the fi nal two objects on display and conclude this presentation of an ongoing twenty-fi rst-century private collection, like two guardian angels heralding the future. All of these companions in life, assembled together in a museum for the fi rst time, whisper a promise of eternity. FIG. 20 (right): Prestige bow rest attributed to the Warua Master (also known as the Master of the Court of Sopola). Luba, Luvua region, DR Congo. 19th century. Wood, fi ber, bead necklace. H: 66.5 cm. Collected by Léon Guébels (pseudonym Olivier de Bouveignes) between 1913 and 1918. Ex Jean Willy Mestach; Merton Simpson, New York; private collection, New York, acquired from Simpson on December 4, 1985. ECLECTIC NOTES 1. Edouard de Julienne, W. D. Webster, Paul Guillaume, Georges de Miré, Sydney Burney, Charles Ratton, Louis Carré, René Rasmussen, Georges Frederick Keller, Emil Storrer, Hans Meyer, Josef Mueller, Georges Ortiz, Roger Bediat, Pierre Langlois, Arthur Speyer, Paolo Morigi, Patricia Ann Whitofs, Roland de Montaigu, and Brian and Diane Leyden, to mention just a few. 2. Ils Collectionnent, Musée des Arts Décoratifs, Paris, 1974. Le Cercle de l’Art Moderne, Musée du Luxembourg, Paris, 2012–2013. Les Impressionnistes en Privé, Musée Marmottan, Paris, February 13–July 6, 2014. L’Intime, le Collectionneur derrière la Porte, La Maison Rouge, Paris, 2014. 3. Susan Vogel, The Art of Collecting African Art, Museum for African Art, New York, 1988. 4. Christa Clarke, Albert Barnes, et al., “Un siècle de collection d’art africain aux Etats-Unis,” in Eclectique, une collection du XXIè siècle, Musée du Quai Branly – Jacques Chirac, Paris, Editions Flammarion, 2016, pp. 16–19. 5. Acquisition of a votive panel from Papua New Guinea, then in 2005 of a Baule fi gure formerly in the Georges de Miré Collection. 6. Hélène Leloup, “L’art de collectionner,” in Eclectique, une collection du XXIè siècle, Musée du Quai Branly – Jacques Chirac, Paris, Editions Flammarion, 2016, pp. 12–15. 7. Marc Ladreit de Lacharrière, “Préface,” in Eclectique, une collection du XXIè siècle, Musée du Quai Branly – Jacques Chirac, Paris. Editions Flammarion, 2016, pp. 6–7. 8. Two African objects in the show have been C-14 tested: the Dogon millet pounder (15th–16th century) and the pre-Dogon Djenneke bust (second half of the 9th century AD). 9. See Hélène Joubert, “Collections et collectionneurs : éléments d’analyse et d’histoire, L’éclectisme au XXIè siècle,” in Eclectique, une collection du XXIè siècle, Musée du Quai Branly – Jacques Chirac, Paris, Editions Flammarion, 2016, pp. 20–25. 10. Marc Ladreit de Lacharrière is a major donor to the Louvre, a member of the Conseil Artistique des Musées de France, president of the Fondation Culture et Diversité, president of the Agence Internationale des Musées de France, and president of the Association des Musées Méconnus de la Méditerranée (AMMED).
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