Masks known as Mbuya belong to a broad repertoire of characters associated with the mukanda, the male initiation cycle involving circumcision, a period of seclusion and the eventual return of initiates to the community. Such masks notably appeared during ceremonies marking the conclusion of initiation and could embody a wide variety of social and symbolic characters. Some were deliberately expressive or exaggerated, allowing masquerades to convey moral lessons, provoke laughter and address relationships between the living, ancestors and the invisible world.

This example has a particularly forceful expression, with heavy projecting eyelids, an open mouth exposing carved teeth and triangular scarification-like motifs on the cheeks. Its deep brown-black patina reinforces the sculptural character of the face. Perforations around the edge were probably intended for attaching fibres, textile or other elements forming part of the complete masquerade costume.

Mbuya masks generally represented ritual character types rather than specific individuals, their full meaning emerging through dance, music and costume during performance.

The custom-made metal display stand is included free of charge.

Among the Hemba, singiti were commemorative portraits of deceased chiefs. Rather than functioning as strictly naturalistic likenesses, they embodied an idealised image of leadership, perpetuating the authority and presence of a distinguished ancestor within the lineage. Such figures were kept by chiefs in restricted spaces and played an important role in affirming genealogical and political continuity. Particular emphasis was traditionally placed on the head, associated with knowledge, and the abdomen, linked to lineage and descent.

This example displays several hallmarks of the tradition: strong verticality, an introspective expression, carefully articulated coiffure and an emphasis on the head and face. Its dark, time-worn surface lends the sculpture an austere and compelling presence.

Among the Kwese, masks were notably associated with male circumcision and initiation ceremonies. Some examples could also appear during funerals or ceremonies connected with the installation of a chief. The generic term mukishi is sometimes used in reference to masked figures.

This example features an oval face with a restrained expression, narrow eyes, a slender nose and a small mouth. Pale and reddish pigments articulate the facial planes, while the upper part is occupied by a finely grooved coiffure. The restrained polychromy and contemplative expression are characteristic of the broader masking traditions of southwestern Congo.

Small perforations around the perimeter likely once served to attach fibre or textile elements, integrating the wooden face into a complete masquerade costume.

The custom-made metal display stand is included free of charge.

The Holo, living on both sides of the border between Angola and the Democratic Republic of the Congo, developed a sculptural tradition closely associated with ancestral cults, protective practices and expressions of social status. While the precise function of this unusual anthropomorphic frame remains difficult to determine without documented early provenance, its frontal composition and prominent central figure suggest a ritual or symbolic display rather than a purely decorative purpose.

The strong balance between the human figure and the architectural structure of the frame, reinforced by its repeated geometric ornament, gives this object a particularly distinctive presence within Holo art.

Within Lega culture, Sakimatwematwe figures belong to the initiatory world of Bwami, the graded association through which moral, social and political values were transmitted. The name is generally associated with the idea of “many heads” or multiple perception, evoking a high-ranking initiate capable of seeing what others cannot, understanding different viewpoints and exercising wisdom and judgment. Bwami objects functioned as visual proverb-images, whose meanings were progressively revealed during initiation.

Through its abstraction, pronounced verticality and highly polished surface, this example expresses the distinctive Lega aesthetic, in which formal simplicity may conceal complex initiatory meanings. Sculptures associated with Bwami were connected with the highest grades of the association and were used to convey ideals such as restraint, respect, moderation and wisdom.

Among the peoples historically united within the Kuba kingdom, a mask was not conceived as an isolated sculpture but as part of a wider performance combining carving, costume, music and dance. Kuba masquerades were associated with contexts including male initiation, funerary ceremonies and the commemoration of initiated or high-ranking members of society. Depending on their type, masks could embody ancestral figures or characters associated with social order, while also contributing to the transmission of history, values and knowledge within initiatory institutions.

The surviving textile headdress is therefore particularly significant. It reminds us that such masks were meant to be experienced as complete ensembles, accompanied by costume elements that transformed the dancer and concealed his identity. This example thus retains a tangible connection with the performative dimension of Kuba masking traditions, extending well beyond the carved face itself.

Among the Baule of Côte d’Ivoire, such heavy anklets functioned above all as visible emblems of wealth and social status. Worn by women, they transformed valuable metal into a conspicuous expression of prestige and rank. Comparable examples in the National Museum of African Art are specifically documented as symbols of status and wealth.

These ornaments were traditionally produced using the lost-wax casting technique. Many examples are hollow, and some may originally have contained loose elements capable of producing a rattling sound as the wearer moved.

This example is characterized by its rounded volume, broad opening and regular sequence of raised horizontal bands. The dark brown patina, with warmer tones appearing on the reliefs, reinforces its sculptural presence.

The female figure is distinguished by a long ringed neck, a finely incised hairstyle and a restrained, contemplative face. Her hands frame the child, whose elongated body rests horizontally across her thighs. The surface displays a nuanced light to medium brown patina, preserving visible traces of carving and use.

Within Akan, and particularly Asante, culture, motherhood holds an important place in the continuity of the lineage. Sculptures associated with fertility and childbirth could evoke conception, the protection of pregnancy and family prosperity. The celebrated akua’ba figures are the best-known expression of this symbolic world, although more developed compositions depicting mothers together with their children are also documented.

With its calm posture, frontal treatment and clearly articulated mother-and-child relationship, this sculpture offers a particularly evocative representation of maternity and lineage within the Asante sculptural tradition.

The Kakuungu ranked among the most powerful masks associated with the mukanda, the male initiation cycle involving circumcision. It was not worn by the young initiates themselves, but by the isidika, the ritual specialist responsible for charms and for protecting the initiation camp. Ethnographic documentation records that the mask helped keep sorcerers and hostile forces away from the initiates and was also believed to prevent dangerous bleeding following circumcision.

Its functions extended beyond initiation. The Kakuungu could also be invoked in relation to rain and storms, hunting success and certain healing practices. Its deliberately formidable appearance therefore embodied authority, protection and ritual power.

This example retains a particularly strong sculptural presence, enhanced by its layered earthen pigments and peripheral attachment holes, originally intended for elements of the masquerade costume now lost.

Among the Songye, a nkishi acted as an intermediary between the human world, ancestral spirits and supernatural forces. Its creation brought together the work of a sculptor and that of a ritual specialist, the nganga, who activated the figure by inserting bishimba: powerful compounds of animal, vegetal and mineral substances. These were commonly placed inside cavities in the head, abdomen or navel. Once empowered, large communal mankishi served the welfare of an entire community, protecting against illness and sorcery while promoting fertility, prosperity and social cohesion.

This example retains several characteristic elements associated with such ritual activation. The spectacular horn projecting from the crown may originally have served as a receptacle for powerful substances or as a means of reinforcing the figure's spiritual potency. The strands of beads around the neck, together with surviving fibers, cloth and bindings, likewise belong to the cumulative material language of Songye power figures. A circular opening visible on the abdomen corresponds to one of the areas commonly used to house ritual substances. Comparable Songye figures combine horns, beads, skins, fibers and organic matter to enhance their efficacy.

Large communal figures were kept in designated places within the village and placed under the care of a guardian. They could be brought out for collective consultations, ceremonies and celebrations associated with the new moon, a symbol of renewal, fertility and prosperity. Some were considered sufficiently powerful that they were transported without being touched directly.

The present sculpture is distinguished by its pronounced verticality, angular arms and strongly enlarged head. Large almond-shaped eyes, exposed teeth, a finely striated beard and the towering horn give the figure an especially commanding presence. Age cracks, surface wear and the surviving ritual attachments further contribute to the powerful character of this substantial example.