Slightly taller than the renown “Bangwa Queen”, the Bangwa Paternité shares the same spiritual power, esthetic mastery, and historical significance as its female counterpart. Moreover, the Paternité visually embodies the nurturing, protective function of fatherhood as the parent rests his guiding, caring hands on his twin children. This is the first time that this exceptional piece, created by Bangwa artisans between 1880 and 1890, is being offered on the international art market.
During the 1950-60s, Cameroonian artisans and dealers, including Salifou Gbetkom, Ibrahim Moulioum, and Allassa Mfouapon, ventured deep into rural areas of Cameroon in search of artifacts to be sold to the Galerie Guimiot in the Akwa quartier of Douala. The gallery became the crossroads of African art transactions between European collectors and African dealers who brought pieces from across the African continent to its doorstep.
On returning from one of their interior travels in 1972, the local dealers learned that M. Philippe Guimiot, the gallery owner’s, had departed Cameroon and had returned to his residence in Paris. Ownership of the gallery reverted to Mme Solange Fouda, his former wife. At the time of their marriage, Mme Fouda was the daughter of M. André Fouda the Mayor of Yaoundé, Cameroon. She also had recently been selected Miss Cameroon, increasing her stature among Cameroonians.
For the better part of two decades, Mme Fouda continued to build her knowledge and expand her personal collection of Cameroonian tribal artworks. Upon Mme Fouda’s death in 1985, family members were asked to oversee the preservation and subsequent sale of Mme Fouda’s collection of Bamileke, Bamoun and Bangwa artwork, including the Bangwa Paternité.
