Benedict Chukwukadibia Enwonwu M.B.E

(Nigerian, 1917-1994)

Head of Osagboivo 44 x 16 x 19cm (17 5/16 x 6 5/16 x 7 1/2in).

Footnotes

Provenance
Purchased by grandfather of vendor directly from the artist during his time in Lagos as technical director of Nigerian Breweries until independence;
Thence by descent to present owner.

Exhibited
London, Berkeley Gallery, 1950.
London, Galerie Apollinaire, July - August 1950. Cat. no. 13.
Washington D.C., Howard University, 1950.
Boston, Schweitzer Foundation Festival of Arts, 1950.
New York, Roosevelt House at Hunter College, 1950.
New York, Vasser College, 1950.
New York, Syracuse University, 1950.
Vermont, Bennington College, 1950.


"The quality of a piece of sculpture carved in ebony is like having produced a metallic wooden sculpture. This is more so when it is highly polished but I prefer to leave my pieces a little dull." - Ben Enwonwu, 1950

This ebony head was carved by Enwonwu in Benin City, Nigeria in 1949, shortly after the artist had returned from the UK. Enwonwu spent time with the traditional carvers in Benin, in order to learn more about their techniques. Enwonwu said the following about this sculpture when he visited the United States for an exhibition and lecture tour in 1950:

"'Head of Osagboivo' is a portrait. Mr. Osagboivo is head of the Benin Wood Carving Guild in Benin City. His father was a carver but unlike the time of his father, he has to work in the Native Administration Department, where the old art has become another, of cheap commercialism.

Osagboivo does not like the idea. But what the Nigerian needs, is to develop a conscious, aesthetic appreciation of art and the artist, to have a critical sense of evaluation of the artistic merits and demerits. This above all else, would maintain a continuity of good work which is lacking today in all Africa. But the people would have to have an art school in which these thing can be taught to them.

For I feel that the West African, having lost his art, is incapable of recognising art when he sees it. But the reason for the disappearance of the aesthetic traditions of Africa is the fault of the British Government who have not created opportunities for the younger generation to pursue the art studies that are of great importance today in all West African colonies.

Even Osagboivo knows this and he complains bitterly. He remembers the days of yore in Benin City, when his father was an eminent master craftsman of the Court of Oba Ado, King of there Benins."