MASQUÉ INCOGNITO The masker is hidden - incognito - invisible, and the mask is mysterious and central to the masquerade or ceremony. The image of the mask - social, religious, political representation and magic - is the only visible element. The mask is the power, in no case may one thwart the action of the mask. While some masks are for entertainment other masks operate as an instrument of social control for internal order, group cohesion and the just division of duties and privileges. Ben Hunter, September 2016
BAKONGO MASK W O O D, P IGM E N T. 2 9 CM . D.R. OF TH E CON GO. EARLY 20TH CEN TURY.
In contrast to other African peoples, the Bakongo did not have a strong mask tradition. Face masks were often worn by the nganga diphomba - a ritual specialist or diviner. This mask’s face has been rendered in a lifelike way, similar to the manner in which the heads of Kongo maternity statues are shaped. Provenance: Ancient collection of Paolo Morigi Published: Lehuard, Raoul (1993). Art Bakongo, Les Masques - Vol 3
ANANG “MFON” MASK W O O D, P IGM E N T. 2 9 CM. N IGERIA. EARLY 20TH CEN TURY.
The serene, almost contemplative expression on this female mask points to an Anang origin, one of the north eastern Ibibio language groups. Ekpo society masquerades often depict a strong concept of duality which utilises grotesque male masks and female masks with deep, shining surfaces depicting beautiful young women. This contrast between the beautiful and the ugly, the male and the female, the aggressive and the gentle, emphasise the interplay between opposites in Anang culture. Masks such as this are used in the key masquerade performances after the yam harvest, marking the visit of the ancestral spirits ekpo amongst the living. Provenance: J.J. Klijman, New York, 1967 Joseph Schörghuber, Munich, Germany
A N C E S T R A L “ TA P U A N U ” M A S K WOOD, LIME, BURNT SHELL, PIGMENT. 25 CM. MORTLOCK ISLANDS, MICRONESIA. 1930’s.
The Tapuanu mask was used in ceremonial dances to protect the staple breadfruit crop from damaging storms. They were carved by men belonging to the soutapuanu secret society, which is headquartered in the falefol - sacred house, and were likely believed to have healing powers and provide protection.
HIMACHAL PRADESH MASK WO O D, P IGM E N T, HAIR . 2 8 ,5 CM. K UL L U VAL L EY, IN D IA. 19TH CEN TURY.
This exceptionally expressive mask was used in the traditional Fagli dance and in the archaic local ceremonies of the Kullu Valley.
MAKONDE “MAPICO” MASK W O O D , PI G ME N T, HUM AN HAIR . 2 9 CM. MOZ AMBIQUE. FIRST H AL F OF TH E 20TH CEN TURY.
The hallmarks of this “geometric”style of mapiko mask are a reinterpretation of the facial features through a visual vocabulary based in angles, planes, and creases. This stylistic approach was informed by a desire to limit the naturalistic qualities of the mask, emphasizing instead the intention to present the masked dancer as an anonymous, incarnated human spirit, or lihoka. “Geometric” masks made at this time were likely created primarily for performances of mapiko walikuti, a more conservative style of mapiko performance practiced by more senior Makonde men invested in maintaining the impression that the mapiko performer was a lihoka, as well as in some performances of mapiko wanshesho/washinemba, a newer form of mapiko danced by younger Makonde men that incorporated choreographed vignettes drawn from modern life. - Alexander Bortolot, Realism as Rebellion
CHOKWE PRESTIGE HEAD W O O D. 2 1 x 2 1 CM. AN GOL A. 19TH CEN TURY.
An exceptionally rare ceremonial plaque head. From what little information is available, it is likely that these heads were carved for the chiefs to ward off spells, evil and bad dreams. Redinha states that old chiefs told him these plaques were placed above their heads to avoid bad dreams. There is also one by the same hand illustrated in Mahamba, A. de Oliveira, (1959 plate 55), which hung on the door of the house of the Lunda chief Caungula in the 19th century. Redinha, JosĂŠ (1932,:32-39) for a related plaque. Provenance: Willis Henry Auctions - lot 289, 9th July 1988 Phillip Budrose, Marblehead MA. no. 546
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BAMANA DANCE CREST “CHI-WARA” W O O D. 4 5 x 6 3 C M. MAL I. EARLY 20TH CEN TURY.
A very rare style of Chi Wara carved onto a helmet. The type is a male, mythical, beautiful and powerful antelope with two long horns that represent the tall growth of millet, with a clearly visible tail, a phallus that symbolizes the rooting of the grain, long ears that refer to the cultivators’ listening to the songs sung by women who encourage the men while they work in the fields.
MUMUYE “VABOU” MASK W O O D, P IGM E N T. 1 5 x 33 CM. N IGERIA. EARLY 20TH CEN TURY.
Masks worn horizontally on the head are found across the Middle Benue, demonstrating animal, bird and human stylistic influences. These masks are worn during the masquerades known as Vabo, which include rites of passage, initiation, the individual and collective remembrance of the dead, and the shifting of seasons.
M A N O I N I T I AT I O N “ G E M I W E L E � M A S K W O O D. 2 2 CM . L IBERIA. EARLY 20TH CEN TURY.
This mask is likely to come from the Yamein group of the Mano people in Nimba County, Liberia. It is a Ge mi wele, which represents the woman (wei) in Poro, and is very rare. The medicine man, Ge go - Great Satan, the person with the most power in Poro, wore this mask in connection with scarification and burial ceremonies for people of high rank. Provenance: Jan de Rook, Rotterdam
DOGON RITUAL “KANAGA” MASK W O O D, L E AT HE R , P IGM E N T. 104 CM. MAL I. EARLY 20TH CEN TURY.
Like other Dogon masks, Kanaga masks are worn at rituals called dama, whose goal is to transport the souls of deceased family members away from the village and to enhance the prestige of the deceased and his descendants by magnificent masked performances and generous displays of hospitality. The meaning of the Kanaga mask apparently pertains both to God, the crossbars being his arms and legs, and to the arrangement of the universe, with the upper crossbar representing the sky and the lower one the earth. Provenance: Eberhardt Voigt, Münster / Westfalen, Germany Jan Dierickx Gallery, Brussels, Belgium
DAN MASQUERADE “KAOGLE” MASK W O O D, P IGM E N T, K AO L IN . 2 9,5 CM.CÔTE D ’IVOIRE. EARLY 20TH CEN TURY.
This wonderful Kaogle mask with deep set tubular eyes represents a chimpanzee or monkey, and is one of the four types of kagle masks. The Kaogle’s important function is the provision of rowdy entertainment which animates, agitates, enrages and excites the public, spurring them into ‘wild’ behaviour. This they do with the aid of a hooked stick known as ka.
EKET EKPO SOCIETY MASK W O O D, P IGM E N T. 2 2 CM. EK ET, N IGERIA. EARLY 20TH CEN TURY.
Ekpo members wear masks when performing their policing duties. Each village is ruled by the Ekpo Ndem Isong, a group of village elders and the heads of extended families. Their decisions are enforced by members of the Ekpo society who act as messengers of the ikon - ancestors. Provenance: John Tenney, Den Bosch, The Netherlands
D AYA K S H A M A N M A S K W O O D , P IGM E N T, HO R S E HAIR . 2 8 CM. BORN EO, IN D ON ESIA. EARLY 20TH CEN TURY.
A strong and powerful Dayak transformative Shaman’s mask with a rare sculptural presence. These masks are an indispensable part of the rituals facilitiating the Shaman’s transmogrification, aiding in supernatural encounters and frightening away evil spirits.
ANGAS CEREMONIAL MASK CAN E , AB R US S E E DS , CO T TON . 48 CM. N IGERIA. MID 20TH CEN TURY.
This dance mask comes from the Ngass, or Angas, people located in the Plateau State region of northeastern Nigeria. The mask is made of plant fibres woven together and decorated with red abrus seeds and tufts of cotton. A mask such as this was possibly used as part of a masquerade for a men’s secret society, Jankai. The name is a Hausa word meaning “Red Head”. Jankai appears at harvest-time dressed in a red helmet mask and billowing cloth garments. Provenance: Collected by William (Bill) & Bernard Fagg in 1957 and gifted to Dorathea Fisher in 1957
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