Chokwe mask
€400.00
Early Chokwe / Tshokwe Mwana Pwo mask – Angola / DRC, mid-20th century
A high-quality Chokwe female mask with authentic usage patina and the classic presence of the great Mwana Pwo faces
This Chokwe / Tshokwe Mwana Pwo mask, originating from the cultural area spanning Angola and the Democratic Republic of the Congo, beautifully embodies the elegance and restraint characteristic of the great female dance masks of Central Africa. Dating from the mid-20th century, it stands out for the refinement of its carving, the balance of its volumes, and the depth of its expression.
The face, with its half-closed eyes, delicately carved nose, and slightly open mouth, conveys a calm and introspective presence, further enhanced by finely rendered scarification marks. The overall composition reveals the hand of an experienced sculptor, one clearly attentive to proportion, harmony, and formal tension.
The old surface patina is another major strength of this piece, with a deep sheen, coherent traces of wear, and a particularly evocative interior marked by handling and use, confirming that the mask was genuinely worn and activated in a performative context.
One particularly compelling aspect deserves to be highlighted: this mask shows strong stylistic affinities with an important Chokwe / Tshokwe Mwana Pwo example that enjoyed a prestigious history, having been published, exhibited, and later offered at public auction by Sotheby’s in Paris, after being shown in both Brussels and Paris. This comparable example is documented in several important references, including Art et Objets Tribaux in Brussels under the direction of Philippe Guimiot in 1989, Jean-Michel Botquin’s contribution to L’Annuel de l’Art in 1993, Bettina von Lintig’s volume published by 5 Continents in 2011, as well as the exhibition Uzuri wa Dunia, Belgian Treasures held in Brussels in 2015.
While no definitive attribution is claimed, the close relationship in the treatment of the face, the formal structure, and the sculptural quality allows one to seriously suggest a connection of workshop, hand, or at the very least artistic tradition, possibly within the same production sphere and period. Such comparisons, well understood by collectors, place the work within a lineage recognized by both the specialist literature and the market, beyond its typological significance alone.
Through its elegance, sculptural presence, and the quality of its old patina, this mask stands as a highly desirable piece for any collection of African tribal art or classical Central African sculpture.
02644
Data sheet
- Presumed dating
- Mid XXth century
- Size
- 26 cm (37 cm with support)
- Ethnic group
- Material(s)
- Wood
- Country
- Origin
- Tribal art collection Belgium
- Stand
- Included
- Condition
- Excellent
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Early Chokwe / Tshokwe Mwana Pwo mask – Angola / DRC, mid-20th century
A high-quality Chokwe female mask with authentic usage patina and the classic presence of the great Mwana Pwo faces
This Chokwe / Tshokwe Mwana Pwo mask, originating from the cultural area spanning Angola and the Democratic Republic of the Congo, beautifully embodies the elegance and restraint characteristic of the great female dance masks of Central Africa. Dating from the mid-20th century, it stands out for the refinement of its carving, the balance of its volumes, and the depth of its expression.
The face, with its half-closed eyes, delicately carved nose, and slightly open mouth, conveys a calm and introspective presence, further enhanced by finely rendered scarification marks. The overall composition reveals the hand of an experienced sculptor, one clearly attentive to proportion, harmony, and formal tension.
The old surface patina is another major strength of this piece, with a deep sheen, coherent traces of wear, and a particularly evocative interior marked by handling and use, confirming that the mask was genuinely worn and activated in a performative context.
One particularly compelling aspect deserves to be highlighted: this mask shows strong stylistic affinities with an important Chokwe / Tshokwe Mwana Pwo example that enjoyed a prestigious history, having been published, exhibited, and later offered at public auction by Sotheby’s in Paris, after being shown in both Brussels and Paris. This comparable example is documented in several important references, including Art et Objets Tribaux in Brussels under the direction of Philippe Guimiot in 1989, Jean-Michel Botquin’s contribution to L’Annuel de l’Art in 1993, Bettina von Lintig’s volume published by 5 Continents in 2011, as well as the exhibition Uzuri wa Dunia, Belgian Treasures held in Brussels in 2015.
While no definitive attribution is claimed, the close relationship in the treatment of the face, the formal structure, and the sculptural quality allows one to seriously suggest a connection of workshop, hand, or at the very least artistic tradition, possibly within the same production sphere and period. Such comparisons, well understood by collectors, place the work within a lineage recognized by both the specialist literature and the market, beyond its typological significance alone.
Through its elegance, sculptural presence, and the quality of its old patina, this mask stands as a highly desirable piece for any collection of African tribal art or classical Central African sculpture.