Rare anthropomorphic copper-alloy figure with prestigious Émile Deletaille and Merton D. Simpson provenance

This remarkable male figure in copper alloy, attributed to the Inland Niger Delta region of Mali, possesses an extraordinary sculptural presence. Standing in a hieratic frontal pose, the figure develops an exceptionally elongated, almost architectural silhouette whose formal radicalism inevitably recalls, to the modern Western eye, certain explorations of twentieth-century sculpture, particularly the slender figures of Alberto Giacometti.

This comparison is, of course, purely aesthetic rather than historical; above all, it emphasizes the astonishing formal modernity of the work.

The body is organized around a powerful vertical axis. Long, slightly separated legs support an exceptionally elongated torso, while the slender arms descend parallel to the body and extend toward the pelvis like two continuous lines. This remarkable economy of volume, combined with the extreme elongation of the limbs, gives the figure a monumentality that greatly exceeds its actual dimensions.

The face possesses an equally distinctive personality: a slightly projecting head, prominent nose, deeply defined eyes, protruding ears, and strongly modeled mouth. The chin is extended by an imposing circular beard, a striking sculptural feature that reinforces the male identity of the figure.

The surface deserves particularly close attention. The body is extensively decorated with incised motifs and ornamental details, including bracelets, body adornments, geometric patterns, scarification-like markings, and a complex decorative treatment of the torso and abdomen. This graphic richness creates a subtle contrast with the radical simplicity and verticality of the overall silhouette.

The copper alloy displays a beautiful aged surface, dark and richly nuanced, punctuated in places by characteristic areas of green oxidation. Metal sculpture has a long history in Mali, supported in part by the circulation of copper through trans-Saharan trade networks. Dogon copper-alloy figures also demonstrate stylistic connections with the artistic traditions of Djenné and the Inland Niger Delta.

The exceptional character of this sculpture is further reinforced by its prestigious provenance.

The work was formerly in the collection of Émile M. Deletaille (1929–2021), an important Brussels figure in the field of African art, and subsequently in the collection of Merton D. Simpson (1928–2013), the renowned New York dealer, collector, and artist whose name is closely associated with major works of African art. It later passed through the hands of Bob Berete in Brussels.

This distinguished provenance — Émile Deletaille, Merton D. Simpson, and Bob Berete — places the sculpture within the history of international collecting and the specialist African art market.

Through its extraordinary verticality, sophisticated incised decoration, richly aged metal surface, and distinguished provenance, this figure represents a particularly compelling example of metal sculpture from Mali. Its striking formal modernity creates a fascinating dialogue between the ancient artistic traditions of West Africa and some of the major sculptural explorations of twentieth-century modernism.

Rare Marka mask with a large discoid sagittal crest, lateral horns and remarkable aged patina

This remarkable Marka mask from Mali is distinguished by its particularly striking architecture and powerful sculptural presence. Its long, narrow anthropomorphic face displays several characteristic features associated with the Mande sculptural traditions to which Marka art belongs: strong frontality, elongated eyes, a long straight nose, a subtly defined mouth, and finely incised geometric decoration. Works attributed to the Marka are notably documented in the collections of the Metropolitan Museum of Art, highlighting the diversity and, in some cases, the rarity of their masking traditions.

The most striking feature is undoubtedly the imposing discoid sagittal crest rising above the head. Its monumentality gives the mask an immediately recognizable silhouette. It is accompanied by two long, carefully carved lateral projections resembling horns, which follow the contours of the face and taper elegantly downward. This complex construction creates a remarkable tension between verticality, symmetry, and movement.

The sculpture is further enhanced by finely incised decoration, particularly visible across the forehead, coiffure, and surrounding borders. Traces of pigment and surviving textile elements add another dimension to the piece, preserving visible evidence of its history and former use.

The interior deserves particular attention. Deeply patinated, naturally polished, and marked by extensive traces of rubbing and handling, it conveys a particularly convincing sense of age and prolonged use. Regular perforations around the perimeter indicate the former attachment of the mask to a costume or other fastening elements, a feature also documented on Marka masks preserved in museum collections.

Through the originality of its construction, the commanding presence of its crest, the elegance of its elongated lateral projections, and above all the quality of its aged use patina, this mask represents a particularly fine example of Marka sculpture and a distinctive work for a collection devoted to the traditional arts of Mali and West Africa.

This carved wooden mask is attributed to the Bamana (Bambara) people of Mali and belongs to the distinctive Kono mask tradition, associated with initiation societies responsible for preserving knowledge, social order and community protection.

Its elongated face is dominated by a strong projecting muzzle that extends almost to the mouth, while two tall upright ears create the unmistakable silhouette characteristic of this sculptural tradition. A small vertical crest rises from the rounded forehead, enhancing the mask's striking profile.

The entire surface is enriched with finely engraved geometric patterns and delicate cross-hatched motifs that emphasize the sculptural volumes. These carefully carved decorations interact beautifully with the deep dark patina, giving the mask both elegance and visual rhythm.

Circular eye openings and the simplified facial features create a restrained yet powerful expression. The deeply hollowed interior demonstrates the care taken in carving the mask for ceremonial use.

Within Bamana culture, Kono masks were closely connected with initiation societies entrusted with safeguarding esoteric knowledge, communal protection and spiritual authority. Rather than depicting animals literally, their stylized forms evoke strength, wisdom and unseen protective forces.

With its harmonious proportions, refined engraved decoration and elegant sculptural balance, this mask is an excellent example of the artistic traditions of Mali.

The mask is presented on a custom-made metal display stand, which is included.

This striking mask is attributed to the Marka (Markha) people of western Mali. It combines finely carved wood with engraved metal plating, creating a powerful and highly decorative example of West African craftsmanship.

The elongated face is structured around a long straight nose extending to a small projecting mouth. Its angular geometry and restrained facial features give the mask a dignified and imposing presence.

The front is covered with carefully applied metal sheets secured by small rivets. Over time, the metal has developed subtle silver, brown and golden tones that beautifully contrast with the dark carved wood beneath. Geometric engraved motifs and diamond-shaped elements enrich the surface and demonstrate the remarkable decorative work invested in the piece.

Large carved ears frame the face and are embellished with finely incised patterns, while small hanging ornaments with beads and red tassels add movement and visual interest.

Among the Marka, masks play important roles in communal ceremonies and public celebrations, reflecting artistic traditions that combine symbolic expression with refined craftsmanship. Their distinctive aesthetic emphasizes strong geometric forms, elegant proportions and sophisticated surface decoration.

With its remarkable metal-covered surface, refined carving and impressive visual presence, this mask is an outstanding decorative object for collectors of African art as well as contemporary interiors.

The custom display stand shown in the photographs is included.

Culturally related to the Bamana people, they are primarily associated with initiation ceremonies—particularly within the Ntomo society—and worn by young initiates during rites of passage and ritual performances.

Their simple design reinforces the mask's symbolic authority: acting as a mediator between the living and ancestors, it encodes social status and collective norms.