Expressive Early Classic Cubist Dan Mask Early 20th Century Liberia, ex Sothebys

Great Angular Cubist Dan Kran Mask with expressive open mouth with metal teeth, triangle eyes and projecting angular cheeks. From Ivory Coast, West Africa...

Ancient Cubist Kuba Dance Mask Black Patina, Cone Shaped Eyes, from the Congo, Africa. It is in good condition with wear, polish and erosion from traditional use, appropriate for it...

Early finely carved African Afikpo mask with stylized geometric abstract long face. From Nigeria close to the Cross River. From an old collection in the Southwest. Overall dimensi...

Early carved wood small Salampasu Warrior's Mask, Zaire, Africa early 20th century, remains of black and white pigments, on custom stand. Mask 10", height on stand 14" strong angul...

Bring home a piece of ancestral heritage with this authentic Chokwe mask from Angola, crafted in the mid-20th century. Rooted in deep cultural tradition, Chokwe masks were once used ...

Discover the soul of Africa through this authentic Salampasu mask from DR Congo, handcrafted in the mid-20th century. Part of a carefully curated collec...

This mid-twentieth century finely carved mask, from the Lega culture in the Democratic Republic of the Congo, displays the typically heart-shaped face of Lega 'Idimu' masks. Traces o...

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...