His slender body and slender limbs contrast with the more classic massive body of Songye power figures. The summit horn is still stuck in the skull, testifying to a ritual use in the context of protection of individuals (family or village), containing the bishimba, a magical charge carried out by the master of divination.

The slender face is covered with small brass nails conferring a specific power to this Tetela fetish: that of diverting lightning towards the protective figure and thus keeping it away from individuals. On the trunk and under the eyes, fine linear scarifications adorn the statue.

A twisted metal ring accompanies the ankles and other accessories adorn the character's waist. This piece has a beautiful patina of use, sometimes crusty, sometimes shiny from repeated use.

This is a very beautifully crafted protective nkishi of a very rare typology, in excellent condition, still including its traditional ritual accessories. All these elements make this statue an essential piece of African art for lovers of figures of power.

Museum piece from the collection of Dr. Kremer, Geneva, Switzerland.

This finely carved wooden figure is attributed to the Zande people of the Ubangi region in northern Democratic Republic of the Congo. It combines powerful sculptural volumes with refined carved details, creating a distinctive and highly expressive work.

Standing in a strong frontal pose, the figure rests on robust, rounded legs characteristic of certain sculptural traditions from this region. The torso is dominated by a large circular carved element featuring a central conical projection and four radiating sections, forming the visual centerpiece of the composition.

The face is animated by prominent inset eyes, a triangular nose and a delicately carved mouth that give the figure an engaging expression. Large metal rings suspended from both ears recall traditional body adornments and add movement and character to the sculpture. The carefully carved grooved hairstyle further enhances the balance between simplicity and decorative refinement.

Among the Zande, carved figures have long been associated with authority, protection and ritual practices. Their stylized forms emphasize symbolic qualities rather than naturalistic anatomy, reflecting the rich artistic language of Central Africa.

With its elegant proportions, expressive features, preserved metal ornaments and attractive dark patina, this sculpture is an excellent example of traditional Zande carving and a striking addition to any African art collection or interior.

This wooden Muminia mask is attributed to the Lega people of eastern Democratic Republic of the Congo. It stands out for its unusual interpretation of traditional Lega aesthetics, particularly through its large projecting ears, a feature rarely encountered in Lega carving that gives the piece a distinctive visual identity.

The face displays the characteristic features associated with Lega sculpture: narrow half-closed eyes, a long straight nose, a small understated mouth and balanced, restrained proportions. The light-toned patina contrasts with the darker coiffure, decorated with carved circular motifs, while the perimeter of the face is highlighted by a finely notched border that enhances its graphic appearance.

Among the Lega, masks are closely associated with the Bwami initiation society, where they serve as visual supports for transmitting moral values, wisdom and social knowledge. Although stylistic conventions remain consistent, individual sculptors often introduced distinctive variations, making each mask unique.

With its elegant simplicity, uncommon oversized ears and finely carved details, this mask is an attractive example of traditional Central African art for collectors and interior display alike.

The mask is supplied with its custom-made metal display stand.

The face displays harmonious and perfectly balanced features: half-closed eyes framed by delicately modeled eyelids, a finely carved nose, elegantly shaped lips, and subtle scarification motifs engraved across the forehead, enhancing the dignity and refinement of the expression.
The monumental coiffure, composed of large geometric forms enriched with carefully incised patterns, gives the mask a commanding presence and elegant verticality.

Mwana Pwo masks traditionally embody ideal womanhood, fertility, the transmission of knowledge, and the continuity of lineage. During ceremonial performances, they were animated through dance, where graceful movements extended the beauty and symbolism of the sculpture.

This work perfectly illustrates the mastery of Chokwe artists in the treatment of volume, proportion, and decorative detail. The serenity of the facial features contrasts harmoniously with the architectural strength of the coiffure, creating a composition of remarkable sophistication. Highly sought after by collectors and admired by museums worldwide, the Mwana Pwo mask remains one of the defining masterpieces of classical Central African art.

Within Kongo traditions, such figures belong to the broader category of nkisi, spiritually empowered objects used in a variety of ritual contexts. The cavity typically contained symbolic materials known as bilongo, selected for their protective, healing, judicial, or spiritual properties. Once activated by a ritual specialist, the figure served as a mediator between the human world and unseen forces. The open mouth, a recurring feature in Kongo art, is often associated with speech, spiritual authority, and the ability to invoke or communicate with ancestral powers.

Kongo art is renowned for combining refined stylization with profound symbolic meaning. Beyond its sculptural qualities, this nkisi figure reflects a worldview in which objects could embody spiritual energy and act as intermediaries between the living, the ancestors, and the invisible realm. It stands as an important example of the artistic and religious traditions that flourished within the historic Kongo cultural sphere.

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.

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.

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.

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.

They are not simply decorative objects: they are sacred works of art, often representing spiritual forces of the forest, ancestors, or immaterial spirits, and serving as bridges between the world of humans and the world of spirits during dances and rituals.

There are several types of Dan masks, each with a specific form and social or ritual function.
The Deangle mask, with its oval face and slit-like eyes, symbolizes feminine beauty and is used in certain initiation rites.
The Tankagle and Bagle masks, larger or more grotesque, entertain the community during festivals through dances and mimes.
The Gunyege mask, worn during ritual races, is sometimes chased by other participants, formerly to train the men.
The Zakpai mask, recognizable by a red cloth over its eyes, is used to extinguish bushfires during the dry season.
Bugle, Kaogle, Gagon: other masks used to excite warriors, create joy, or mark important ceremonies.
Go ge: reserved for major occasions, particularly to announce the death of a chief.

In addition to these life-size human figures, the Dan also use small passport-masks, worn on the body or kept in bags during rituals, as witnesses or protective objects in initiation ceremonies.

The masks are carved from wood and often adorned with plant fibers, cowrie shells, fabric, or raffia, and polished to obtain a dark patina through contact with the dancers and the passage of time.