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Bamana Mask, Suruku Mali, 1940s

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Murano Glass Chandelier, 1940s
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Murano Glass Chandelier, 1940s
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Vintage 1940s Italian Mid-Century Modern Chandeliers and Pendants

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Set of 6 Iron Chairs, 1940s
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Set of 6 Iron Chairs, 1940s
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Pietro Chiesa Lantern, Italy, 1940s
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Located in Brussels, BE
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Large Wood and Travertine Console, 1940s
Located in Brussels, BE
Large Wood and Travertine Console, 1940s
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Vintage 1940s Mid-Century Modern Console Tables

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Set of 8 Brutalist Oak Chairs, 1940s
Located in Brussels, BE
Set of 8 brutalist oak chairs - 1940s.
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Vintage 1940s Belgian Chairs

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Dining Table/ Desk, Macassar Ebony, 1940s
Located in Brussels, BE
Dining Table/ Desk, Macassar Ebony, 1940
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Vintage 1940s Desks and Writing Tables

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Bamana N'tomo mask, Mali, 20th century "Generally surmounted by three to eight horns forming a comb, the N'tomoface mask refers to a moment of compulsory education given to uncircumcised young boys in certain West African societies. The mask's discreet, even absent, mouth emphasizes the behavior expected of them in their future adult life after training: controlling and measuring their words, knowing how to keep quiet, preserving secrets and enduring pain in silence." Excerpt from Masques du N'tomo, Marc Ladreit de Lacharrière Collection, Musée du Quai Branly Jacques Chirac, France. The Bambara, or Bamana, live in central and southern Mali. Their name means “unbeliever” and was given to them by the Muslims. Animists, they believe in the existence of a creator god called Ngala, who maintains the order of the universe and coexists with another androgynous god called Faro, master of the Word, who gave all qualities to mankind and makes the fruits of the earth grow. Traditional Bamana art objects are closely linked to agrarian rites. The Bamana dance these masks during initiation and circumcision ceremonies for young boys in the Ntomo society. The face, with its vertical outgrowths at the top, adopts geometric features beneath a rounded forehead, including an imposing busted nose, as the Bamana favor this organ in their statuary as it evokes sociability and clan cohesion. Indeed, during choreography, the dancer frequently touches the nose of the mask. As teaching aids for candidates, masks from societies accessible to young boys and adults, such as the N'tomo, Korè and Ci wara...
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