African Arts Gallery

African mask equipped with its voluminous headdress assembled from a basketry structure. The face is lined with cowrie shells and bells sewn onto textile pads. Satin patina.
The Dan masks, of various styles, generally occur during very theatrical entertainment festivals where women play a leading role. The so-called "mocking" mask called Déanglé defines an ideal of beauty and benevolence because it is sculpted in honor of the young girls of the village or renowned men. Each mask had a name linked to its function. Also used during circumcision rites, they appear in the company of the gle sö singing masks and the large go ge masks relating to the go society, who exercises justice and maintains social stability.

This mask in miniature version is called bundu among the Mendé. He embodies an aquatic spirit. The face is typically buried in the neck, the folds of which represent an abundance of flesh, a symbol of prosperity. Painted black or tinted using a brush of leaves, the mask was then rubbed with palm oil.
Satin patina, kaolin residue, drying cracks. The Mende, Vaï and Gola cultures, of Sierra Leone, Liberia and the west coast of Guinea, are known in African art for the helmet masks and more particularly those of the Sandé female initiation society which prepares young people girls at the wedding. The male society is the Poro society. These masks are made by men and worn by women. To close the rituals, a "spirit" appears, wearing this mask garnished with long raffia fibers, and waving ...

A jaw articulates hemmed lips revealing a row of fine rods for teething. This particularity forms the strong point of this Ogoni-type mask, embodying an ancestor or a high-ranking character.
Polychrome matte patina. Abrasions.


The Ogoni live along the coasts of Nigeria, near the mouth of the Cross-River, south of the Igbo and west of the Ibibio. Their carvings vary from village to village, but are mainly renowned for their hinged-jaw masks like some Ekpo Ibibio masks. Their masks were usually worn at funerals, festivities accompanying plantings and harvests, but also more recently to welcome distinguished guests. The acrobatic demonstrations linked to the celebration karikpo, and accompanied by the drum kere karikpo, were also an opportunity to exhibit various ...

With large eyes with bulbous eyelids, this African ibibio mask is topped with growths including horns. A gaping machoîre appears under the nose. Abraded polychrome patina. The Ibibios are a West African people, mainly present in the southeast of Nigeria (Akwa Ibom State), but also in Ghana, Cameroon and Equatorial Guinea. Secret societies are numerous among the Ibibio, who live west of the Cross River. Without a centralized government, their social organization is comparable to that of the neighboring Igbo. Ancestor worship is under the authority of the highest ranking members of the Ekpo. The latter use masks such as the idiok , related to fallen spirits, and the mfon , representing saved souls. The statues and puppets are used by the ekon society , every seven years, ...

This mask of the Anang, from the Group Ibibio, embodying a beautiful young woman, was dedicated to the entertainment parties of the company Ekpo. The hairstyle, which develops into braids and side shells, enhances the hollowed-out look of heavy eyelids. Under the frontal scarification in lozenge, distinctive of the group, the nasal appendage marked by a rounded end is born. The carefully carved mouth reveals the teeth. The surface has a cracked pink ochre patina.
The Ibibios are a people of West Africa, mainly present in southeastern Nigeria (Akwa Ibom State), but also in Ghana, Cameroon and Equatorial Guinea. Secret societies are numerous among the Ibibio set up west of the Cross River. Without centralized government, their social organization is comparable to that of neighbouring ...

French African tribal art collection.
Related to the Tsogho masks, this Pové, or Vuvi mask, offers an old velvety patina composed of pemba, kaolin from the banks of rivers or quarries in Gabon. Under the heart-shaped arches, long horizontal eyelids dominate the triangle of a short nose and a mouth revealing cut teeth. A light visor headdress contours the upper part of the face. This mask embodies the parent ancestor of the group. Light matte patina, desication cracks, small accidents.
Support of a sacred power, the African mask Pové, among the diversity of Okandé masks, Membé, from the tribes of central Gabon, is carved by an initiate on the eve of ritual ceremonies. He embodies the primordial mythical ancestor of the tribe, Muhunzu. Currently, it manifests itself during ...

African art from Ivory Coast and its abstract masks.
Plank mask on which emerge stylized human features surmounted by a visor block. Large hands with interlocking fingers form a grid in the center of the face. Velvety speckled patina.
The Kru are divided into twenty-four subgroups, including the Grebo, who live in southern Liberia and southwestern Côte d'Ivoire. Their leader is the bodio, who lives in seclusion. Unlike most West African populations, they are not subject to Poro society. Their masks with tubular growths would be of oubi origin, and could symbolize the mythical creatures that inhabit the forests on the banks of the Cavally, to which the people address themselves through ritual ceremonies. The interest of cubist painters and modern sculptors for the abstract ...

African mask with a face coated with polychrome patterns. This type of mask was generally associated with the soothsayer-healer. Grainy matte patina.
The Vili, the Lâri, the Sûndi, the Woyo, the Bembé, the Bwende, the Yombé and the Kôngo formed the Kôngo group, led by the ntotela king. Present along the Gabonese coast, the Vili broke away from the Kongo kingdom in the 16th century and the Loango kingdom became a powerful state. Now mostly urbanized, they still integrate traditional associations, depending on the cult of ancestors such as Mbouiti or Bieri. Just like the Kongo group, in order to protect themselves against witchcraft and various scourges, they produce a wide variety of magical ritual objects of the nkisi type. Their masks are used by the Ndunga or Djembe association, ...

Collection ofAfrican tribal artBelgian.
Miniature mask inspired by the dyommo hare mask. The African masks Dyommo with curved hare ears were intended for young initiates who danced with agility and flexibility. The dance symbolizes the cunning of the animal against the hunter. The hare is also very present in Dogon tales and myths. The Dogon people are established in the southwest of the Niger bend in the Mopti region of Mali. They produce more than 80 types of masks, the best known of which are the Kanaga, Sirigé, Satimbé, Walu . Most of them are used by circumcised initiates of the Awa society, during funeral ceremonies. Some represent animals, in reference to the rich mythology of African Dogon art. Lit. : “Dogon” Huib Blom.

This version of the mask called Kiwoyo among the Pende of the East, Giwoyo among those of the Center, extended with a chin strap, was worn as a cap above a floppy hat, tumba. Most of the Central Pende masks, sculpted by the dancers, were worn tilted on the forehead, to be viewed in profile. Originally associated with the deceased lying on his bed, this mask was associated with funeral rituals. Nowadays he participates in peaceful and festive ceremonies.

The Western Pende live on the banks of the Kwilu, while the Eastern have established themselves on the banks of the Kasai downstream of Tshikapa. The masks of initiation and those of power, the minganji, represent the ancestors and occur successively during the same ceremonies, agricultural festivals, initiation and ...

The asymmetry of the powerful features of this tribal mask participates in the strength that it expresses. Large bands of contrasting colors, locally abraded, mark the surface. Eroded contours. Abrasions.
 Three types of African Kifwebe art masks are listed: the masculine (kilume) generally with a high crest, the feminine (kikashi) would present a more modest crest or even absent, and finally the largest embodying power (kia ndoshi).
Also practiced by the Luba, the cult kifwebe ("mask" in Songye) acted as a secret police force for power, so as to control individuals through magic. Worn with a long suit and a long beard made of natural fibers, Kifwebe masks additionally appeared during crucial stages of initiation ceremonies at the new moon.
The Songye came from ...

Animal masks and African decoration.
African mask named vaca bruto   in Creole, provided with real horns, and coming from the Bidjogo , established in the Bissagos archipelago made up of around thirty islands located off the coast of Guinea-Bissau. The mask is worn before or at the end of initiation ceremonies, by a young “cabaro” initiate, who will bend and rear up, conveying the idea of a young animal that is vigorous but still untamed, and the need to go through the initiatory process in order to acquire discipline and mastery. These masks, called vaca bruto in Portuguese Creole, were displayed on the bow of warlords' boats. It was in fact Portuguese sailors who introduced the animal to the ...

Songola or Lega type mask, with geometric lines inscribed in an oval-shaped volume. Golden beige patina with crusty relief. erosions. Height on base: 38 cm.
Mixed by alliance with the Lega, Ngengele and Zimba, the Songola are governed by the elders of the lineages. They borrowed from the Luba and Songye, the Luhuna institution composed of dignitaries and that of the Bwami by their lega wives. The Songola live by hunting and fishing, they devote themselves to sculpture, although the objects associated with the Bwami cult come from the Lega. Among their reduced statuary, the figures of ancestors of the Nsubi society evoke those of the Mbole, other sculptures were kept in baskets as among the Lega. Masks such as ours were used during Nsindi initiation rites.

The Kru are divided into twenty-four subgroups which include the Grebo, settled in the south of Liberia and the southwest of the Ivory Coast. Their leader is the bodio, who lives as a recluse. Their masks with tubular growths would be of oubi origin, and could symbolize the mythical creatures which inhabit the forests of the banks of the Cavally, to which the people address through ritual ceremonies. The interest of Cubist painters and modern sculptors in the abstract forms of the Grebo mask can be seen in some of their works, such as Picasso's metal guitar in 1914. The double button pupils refer to clairvoyant abilities. Some of the largest examples were worn horizontally as a crest. This part, which is provided with openings allowing vision, on either side of the nose, constitutes a ...

Equipped with zoomorphic attributes linked to the antelope or duinker, the main game of the kwele region, this African mask Kwele Pipibuze, Pipibudze, ( "the man") symbolizes the light and clairvoyance required to overcome witchcraft. The horns meet here under the chin, surrounding the face. This type of mask was not always intended to be worn, but adorned the walls of the huts. Velvety two-tone patina, drying cracks and abrasions.
Depending on the presence of horns and their arrangement, the masks are called pibibudzé, Ekuku zokou, etc...and are associated with ancestors or forest spirits, "ekuk". A tribe of the Kota group, the Kwélé, Bakwélé, live in the forest on the northern border of the Republic of Congo. They live from hunting, agriculture and metallurgy. Practicing ...

In the region of the banks of the Benoué different variations of these African masks are in use. The groups living there, probably having the Akopo as common ancestors, resorted to frequent exchanges and loans. Established near the Niger estuary, speaking a Kwa language, the Igala formed a powerful kingdom until colonization. Human sacrifices once accompanied these ritual festivals, giving these people the reputation of headhunters. The Igala wear large helmet masks called agba during ceremonies that honor their king or at the commemorative funerals of diginitarians. Other types of helmet masks come out during egu cult festivals celebrating the spirit of the dead and for yam festivals. Desiccation cracks, abrasions.
Grainy patina, cracks, slight chips.
Ref. : “The Tribal Art ...

Among the diversity of African masks Punu, this version offers a unique curved shell highlighted by short quilts. Devoid of the traditional "mabinda" checkerboard scarifications, this mask is embellished with discreet burgundy highlights. These white masks from Gabon called bitengi (sing.: itengi) were performed especially at funerals and during the initiations of young boys. Velvety matte patina, slight losses. Abrasions.
The masks of the Punu were associated with the various secret societies of Gabon, including the Bwiti, Bwete, and the Mwiri ("to lead"), the latter spanning several levels of initiation, to which all Punu men belonged, and whose the emblem was the caiman. The Punus did not involve any mask in Bwiti rituals, unlike the Tsogo. These powerful secret societies, which ...

In the south-eastern region of Katanga, from the 1960s, the Zela, long subject to the Lubas whose customs and rites they borrowed, carved animal masks , like the Lubas and the Kundas. From 1970 in fact, the kifwebe company was subject to a transformation which was accompanied by new masks. In the Zela and Kundas groups, however, this type of mask was manifested during secular theatrical ceremonies involving tales. Bifwebe masks evoke the striped antelope which possesses supernatural abilities as well as the zebra. Grainy matte patina, highlights of faded colors.
Formerly subject to the Luba, then to the Lundas, the Zela adopted a large part of their uses and traditions. Established between the Luvua River and Lake Kisalé, they are today organized into four chiefdoms under the ...

Edged with a fine crenellated border, this African mask adopts a diamond shape on which the features stretch, contrasting tones enhancing the structure. Matt patina, gaps on the internal edges.
According to the stories, the Boyos are of Luba descent, through an ancestor who emigrated with her brothers. Migratory flows have mixed within the same territories Bembe, Lega, Buyu (Buye) or Boyo, Binji and Bangubangu. The Basikasingo, considered by some to be a Buyu sub-clan, are however not of Bembe origin, Biebuyck's work having made it possible to trace their history. Organized into lineages, they borrowed the association of Bwami from the Lega. The Bembe and Boyo tribal traditions are relatively similar: they venerate the spirits of nature, water specifically among the Boyo, but ...

Related to the Okuyi African masks of the Punu ethnic groups of the Shira tribes, the African masks produced by the outlying groups, Vuvi, Galoa, and Mitsogho, are also covered with white pigments for apotropaic purposes.
The oblique visor headdress, reminiscent of a hair fashion in the Shira group, constituted the frontal part of a cocked hairstyle. Devoid of scarification, this Gabon mask has protruding eyelids, a triangular nose, and a diamond-shaped mouth carried by bulging cheeks.
Desiccation crack, abrasions. Grainy matte patina. The Mitsogho, Sogho ethnic group is established in a forested region on the right bank of the Ngoumé River. The Bwiti society, or Bweté, which has a reliquary system comparable to that of the Fang and Kota, formed the cohesion of ...

African art among the Fang.

Oforest named Pahouins, the Fangs form a very large ethnic group, following migrations, in Central Africa, in the three republics of Gabon, Equatorial Guinea and Cameroon.In the shape of a barrel, this mask offers a human face with oblique scarficiations. At the top, a cruciform ridge refers to the hairstyle worn by the Fang, while an orifice in the centre allowed the insertion of large feathers. Holes on the lower edges allowed the accompanying raffia collar to be fixed. Linked to the cult of ancestors, the Byri, this mask was responsible for discerning troublemakers, especially sorcerers. It goes out these days for entertainment parties. He also appears now at parties, funerals, birth parties, and on the occasion of an important decision within ...