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.

These traditional art objects, far more than mere sculptures, embody spirits or invisible forces, called "gle" or "ge." Their use is closely linked to initiation rituals, funeral ceremonies, and conflict resolution.

Dan masks are distinguished by their refined style and striking expressiveness. Often oval, with a high forehead, almond-shaped eyes, and a small or closed mouth, they symbolize wisdom and restraint.

Some, like the "deangle" (or "gunye ge") masks, are characterized by a smooth, glossy patina, achieved through years of rubbing with oils and pigments.

Others, rarer, display more angular features or scarifications, reflecting the diversity of clans and ritual functions.

In Dan culture, these masks are not worn randomly: they appear during sacred dances, where the dancer, hidden under a raffia tunic, embodies the spirit of the mask. These performances, often held at night, aim to ease tensions, honor ancestors, or mark the passage to adulthood. The mask then becomes a mediator between the living and the invisible world, a guarantor of social equilibrium.

Anthropozoomorphic mask composed of a human face surmounted by horns. Intended to impose peace during internal conflicts or to "mingle with the combatants during the battle, throwing arrows or assegai intended less for the real adversaries than for the spirits that came to support them. The teé gla mask imposed its terrifying figure, materialising the hostile forces of the forest.

African fetish with a ringed neck, probably from the Lubefu and Lomami region. The neck is very long, the cap hairstyle is thrown back, the eyes are represented by cowries.

Conjugation of both ritual and worship, these statues called mankishi (nkishi in the singular) also have a cosmic dimension whose energies are closely linked.
They are the work of the sculptor, the blacksmith and the nganga. The latter, a ritual specialist, has beneficial and protective powers which are far superior to the evil magic of sorcerers, whose secrets they also know, and which allow them, among other things, to thwart the manipulations of mikishi (wandering spirits become evil).

The nganga makes a bwanga, object or amalgam of objects, depending on the objective to be achieved, whether it is protection, healing, procreation ... These are the incorporated charges, called bishimba, and of which only the nganga knows. the secret and the composition, which will allow the achievement of the desired effect.
Nkishi is a special form of bwanga. Statues over 60cm (the largest can reach 130cm) are meant to protect the community, while the smaller ones are mankishi related to personal protection.

In African art, the Songye styles are extremely varied, including the Belande, the Eki, the Kalebwe, the Nsapo-Nsapo and the Milembwe. The most remarkable effigies are made of wood, metal, nails, rivets, shells, feathers, skins, bones… and of course, have their magical charges.

Mumuye face masks, originating from northeastern Nigeria, are among the most emblematic artistic expressions of this ethnic group.

Unlike the more well-known shoulder masks, Mumuye face masks are distinguished by their abstract style and pronounced geometric forms, often inspired by local wildlife (buffalo, monkeys, elephants).

These sacred objects played a central role in social and spiritual rituals, serving to invoke ancestors, regulate conflicts, or mark important transitions in community life.
Their use was reserved for initiates, reinforcing their mysterious nature and symbolic power.

Sylvia and Henry Gygax: A Life of African Art

Sylvia and Henry Gygax are a couple of collectors well-known in the Brussels and Parisian African art scene. True explorers, they crisscrossed West Africa, particularly Cameroon, to discover and study numerous ethnic groups. Their research led them to draft a seminal work on the Mambila people.

Originally from Switzerland, they later settled in Woluwe-Saint-Lambert, and their large home was a living testament to their travels: hundreds of objects of all kinds were displayed there.

Connoisseurs of their art, their expertise was also showcased in exhibitions at Parisian galleries.

The dispersal of their collection was a resounding success at the auction organized by Boisseau-Pomez.

Learn more about Sylvia and Henry Gygax: read here.

The Ovimbundu share common cultural and artistic traits. Thus, this type of stick is also found in African Chokwe art.

This rare piece comes from a Portuguese private collection until 1995. It was brought back in the 1930's. The support is included.

A rare miniature Lega figure (Maniema and Kivu region, eastern DRC), associated with the Bwami initiatory circle, a society central to the Lega’s moral, social, and spiritual organization.

Carved with great economy of means yet remarkable presence, this figure features a stylized face with strong graphic traits (prominent nose, half-closed eyes, restrained mouth), set atop a stylized form, deliberately reduced. The slender body is dotted with small point-like marks (punctuations) characteristic of Lega works. The whole conveys the silent, codified presence typical of Bwami objects, where nothing is merely decorative: it serves as a vehicle for knowledge, speech, and transmission.

Within the Bwami, such small figures belong to a category of reference objects used in teaching and ritual demonstrations, notably in contexts that may relate to divination and initiatory instruction.
Kalimbangoma figures are among the hardest forms to encounter today: documented examples recorded in private and institutional collections remain very few, making this piece particularly sought-after.

Presented on a custom stand.

Carved from dense wood, they feature an oval face, eyes that are sometimes circular and sometimes half-closed, a small, closed mouth, and a high, smooth forehead, sometimes adorned with ritual scarification.

Their surface, polished by use, is often covered with a dark, lustrous patina, the result of applying vegetable dyes and palm oil.

These masks, called gle or ge, embody spirits of the bush and play a central role in peacemaking and mediation ceremonies. Worn during masked dances, they intervene to resolve conflicts, ease tensions, or honor ancestors. Their fluid movement and silent presence are essential to their symbolic power, reflecting the balance between the visible and the invisible in Dan cosmology.

Museums, such as the Quai Branly-Jacques Chirac or the Metropolitan Museum of Art, emphasize their spiritual strength and artistic minimalism, which make them objects that are both sacred and aesthetic.

This female mask, whose name means "young woman" or "beautiful woman," embodies the female ancestor and plays an essential role in rituals related to fertility and the transmission of social values.

Stylistically, the Mwana Pwo is distinguished by the delicacy of its features: an oval face, almond-shaped eyes, a mouth often slightly open revealing filed teeth, and an elaborate hairstyle, sometimes integrated into the sculpture. The patina, obtained using natural pigments such as tukula, gives the mask a hue ranging from dark brown to red, reinforcing its sacred and aesthetic character. Chokwe sculptors, renowned for their mastery, seek an idealized beauty, reflecting the canons of feminine grace and seduction valued in their society.