cations, especially ones that focus on specifi c
cultural groups like the Kongo, Luba, Lega, or
Songye or on specifi c areas like Central Africa,
the Congo (in particular), or Gabon. The latter
was the case most recently for Les forêts natales
(In Their Native Forests) exhibition at the
Musée du Quai Branly – Jacques Chirac.
The choices Pierre has had to make between
pieces he wanted to keep and those he would
give up were probably diffi cult decisions, at least
at times. They were undoubtedly arrived at in
consultation with his wife, Jacqueline, whose
taste and judgment are also highly developed.
Some of the most prestigious works that
were part of his collection for an extended period
of time were ultimately relinquished only
because a specifi c obligation made it necessary
to do so. Among the most emblematic of these
works were the large Hemba fi gure by the Buli
FIG. 13 (facing page):
Power fi gure, nkonde.
Kongo, DR Congo.
Wood, metal, mirror. H: 66 cm.
© Studio Philippe de Formanoir – Paso
Above, left to right
FIG. 14: Standing fi gure.
Hemba, DR Congo.
Wood. H: 74 cm.
FIG. 15: Standing fi gure.
Ngbaka, DR Congo.
Wood. H: 80 cm.
FIG. 16: Mask.
Pende, DR Congo.
Wood, pigments. H: 67 cm.
FIG. 17 (right):
Power fi gure. Songye, DR
Wood, metal, vegetal fi ber, ritual
materials. H: 78 cm.