Masks

MASKS 1

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London

58 Brook St, Mayfair London, W1K 5DT +44 (0) 20 7493 7778 info@barakatgallery.eu www.barakatgallery.eu

Seoul

58-4, Samcheong-ro, Jongno-gu, Seoul, Korea +82 02 730 1949 barakat@barakat.kr www.barakatcontemporary.com

Hong Kong 187 Hollywood Road Wah Koon Building, Sheung Wan +852-26382262 info@barakathongkong. com www.barakatcontemporary.com

Los Angeles 941 N La Cienega Blvd Los Angeles CA 90069 +1 310 859 8408 contact@barakatgallery.com www.barakatgallery.com

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CATALOGUE EDITED BY: GIAN PIERO C. G. MILANI CURATED BY: MARIA SERENA PADRICELLI PAINTINGS: FAYEZ BARAKAT

COPYRIGHT © BARAKAT GALLERY TEXTS © THE AUTHORS

PUBLISHED BY: HANNA BELLA PUBLISHING 17.09.2021 All rights reserved. No part of this book may be reproduced in any form of electronic or mechanical means including storage by information or retrieval systems without written permission of the authors except in the case of brief quotations embodied in critical articles or reviews.

All our artefacts are guaranteed to be genuine and a certificate of authenticity is included with each item.

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CONTENTS

Mesoamerican

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Egyptian and Classical

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African

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Foreword Masks are among the most interesting objects from the ancient world. Their use spans across civilisations, cultures, and ages. Though the usage -and ritual implications- of masks varies enormously between cultures, it is possible to divide these practices into two macro-groups related to general functions: changing the appearance of the face (and thus the identity of the wearer) or preserving such appearance for posterity.

Stunning examples of the first group are the were-jaguar masks made of jade which are among the most stunning artefacts surviving from the Olmec Civilisation. Though very little is known of the magical and religious world of the Olmecs, the were-jaguar masks probablyt reflect (or are connected to) the Olmec belief that, in the distant past, a union between a woman and a jaguar had produced an earlier race of were- jaguars of which the Olmecs believed to be the descendants. Often associated with the ruling power of the king, the jaguar was the most sacred beast in the animal pantheon. The veneration of this beast permeates the art of the Olmec. Thus, wearing a mask with were-jaguar features most probably allowed priests, shamans, or leaders to reconnect to a mythical past, sublimating their human identity into the mighty power of the worshipped jaguar.

A very interesting example of the second group (masks preserving the appearance of the face, and thus the identity of the wearer) are the Egyptian funerary masks. Though many of us are familiar with famous artefacts such as the funerary mask of Tutankhamen, the importance of masks depicting the features of the deceased in the Egyptian religion is not widely known. Ancient Egyptians believed that it was extremely important to preserve the body of a dead person because the soul must have a place where to dwell upon death. Preservation of the dead body was achieved by mummification but it was also considered equally important for the soul to be able to recognize the body, so it could return to it. For such reason death masks were abundantly used, made in the likeness of the deceased. Such masks were made from metal, wood, or cartonnage, a material made from papyrus or linen and soaked in plaster and then molded on a wooden mold. These masks were made to resemble the deceased but with slightly enlarged eyes and a faint smile. They also showed the fashion of the moment with painted jewellery and makeup. Still today, about two millennia after some of these Egyptians closed for the last time their eyes to the light of this world, the same eyes on their masks still look at us across the centuries, and even from beyond the veil of death.

I hope that these artefacts will be of the same interest for you as they have been to us.

Fayez Barakat President

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MESOAMERICAN

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Olmecoid Stone Were-Jaguar Mask - ES.1112

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The Olmecs are generally considered to be the ultimate ancestor of all subsequent Mesoamerican civilisations. Thriving between about 1200 and 400 BC, their base was in the tropical lowlands of south central Mexico, an area characterised by swamps punctuated by low hill ridges and volcanoes. Here the Olmecs practiced advanced farming techniques which supported many permanent settlements. Their influence, both cultural and political, extended far beyond their boundaries; the exotic nature of Olmec designs became synonymous with elite status in other (predominantly highland) groups, with evidence for exchange of artefacts in both directions.

Other than their art (see below), they are credited with the foundations of writing systems (the loosely defined Epi-Olmec period, c. 500 BC), the first use of the zero – so instrumental in the Maya long count vigesimal calendrical system – and they also appear to have been the originators of the famous Mesoamerican ballgame so prevalent among later cultures in the region.

The art form for which the Olmecs are best known, the monumental stone heads weighing up to forty tons, are generally believed to depict kingly leaders or possibly ancestors. Other symbols abound in their stylistic repertoire, including several presumably religious symbols such as the feathered serpent and the rain spirit, which persisted in subsequent and related cultures until the middle ages. Comparatively little is known of their magico-religious world, although the clues that we have are tantalising. Technically, these include all non- secular items, of which there is a fascinating array. The best- known forms are jade and ceramic figures and celts that depict men, animals and fantastical beasts with both anthropomorphic and zoomorphic characteristics.

Their size and general appearance suggests that they were domestically- or institutionally-based totems or divinities. The quality of production is astonishing, particularly if one considers the technology available, the early date of the pieces, and the dearth of earlier works upon which the Olmec sculptors could draw. Some pieces are highly stylised, while others demonstrate striking naturalism with deliberate expressionist interpretation of some facial features (notably up- turned mouths and slit eyes) that can be clearly seen in the current figure.

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Olmec Black Stone Maskette - CK.0831 Origin: Mexico Circa: 1200 BC to 900 BC Dimensions: 5” (12.7cm) high x 4.625” (11.7cm) wide

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Olmec Stone Mask - CK.0866 Origin: Mexico Circa: 1200 BC to 600 BC Dimensions: 4.625” (11.7cm) high x 4” (10.2cm) wide

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Olmec Jade Mask - CK.0736 Circa: 1200 BC to 500 BC Dimensions: 9” (22.9cm) high x 9” (22.9cm) wide Additional Information: Preusser Lab Test

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Olmec Volcanic Stone Mask - CK.0282 Origin: Mesoamerica Circa: 1200 BC to 500 BC Dimensions: 7.25” (18.4cm) high x 6.375” (16.2cm) wide Additional Information: Preusser Lab Test

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Olmec Jade Mask - CK.0740 Origin: Mesoamerica Circa: 1200 BC to 500 BC Dimensions: 8.25” (21.0cm) high x 7.5” (19.1cm) wide

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Olmec Jadite Mask - CK.0788 Circa: 1200 BC to 500 BC Dimensions: 6.5” (16.5cm) high x 7” (17.8cm) wide

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Olmec Jade Maskette - CK.0739 Circa: 1200 BC to 500 BC Dimensions: 4.375” (11.1cm) high x 3.875” (9.8cm) wide

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Olmec Jade Mask - CK.0733 Circa: 1200 BC to 500 BC Dimensions: 6.625” (16.8cm) high x 6” (15.2cm) wide Additional Information: Preusser Lab Test

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Olmec Jade Mask - CK.0846 Circa: 900 BC to 600 BC Dimensions: 8” (20.3cm) high x 7.5” (19.1cm) wide

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Olmec Jade Mask - MT.0293 Circa: 900 BC to 500 BC Dimensions: 9.25” (23.5cm) high

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Olmec Jade Were-Jaguar Mask - CK.0850 Circa: 900 BC to 600 BC Dimensions: 5.5” (14.0cm) high x 5.25” (13.3cm) wide Additional Information: Preusser Lab Test

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Olmec Mask - DK.040 Circa: 900 BC to 500 BC Dimensions: 6.5” (16.5cm) high

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Olmec Mottled Stone Mask - CK.0599 Origin: Mexico Circa: 900 BC to 500 BC Dimensions: 7.25” (18.4cm) high x 7” (17.8cm) wide x 3.5” (8.9cm) depth Additional Information: Preusser Lab Test

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Olmec Stone Jaguar Head - AM.147 (LSO) Circa: 900 BC to 500 BC Dimensions: 9.45” (24.0cm) high x 8.2” (20.8cm) wide

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Olmec Pesquero Style Jade Mask - CK.0053 Circa: 900 BC to 500 BC Dimensions: 6.75” (17.1cm) high x 6.375” (16.2cm) wide

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A beautiful example of Olmecoid Mask in greenstone. The bluish colour of this stone was immensely valued by Olmecs. Jadeite is a rare variety of greenstone, and most probably originated from the Motagua River valley in present-day Guatemala, the only known source of jadeite in ancient Mesoamerica. Jadeite is an extremely dense rock with a relative hardness value equivalent to or even greater than that of steel.

The absence of holes on the eyes or mouth for sight and breathing suggests that this mask was not made to be worn on the face, at least not by the living. The presence of holes on the sides and on the ears nevertheless suggests a ritual use, perhaps as a pectoral or headdress component, or potentially a funerary use.

Olmecoid Stone Mask - ES.1124 Origin: Mexico Circa: 900 BC to 500 BC Dimensions: 9” (22.9cm) high x 7” (17.8cm) wide x 3.3” (8.4cm) depth

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A beautiful example of Olmec Mask in greenstone. The bluish colour of this stone was immensely valued by Olmecs. Jadeite is a rare variety of greenstone, and most probably originated from the Motagua River valley in present-day Guatemala, the only known source of jadeite in ancient Mesoamerica. Jadeite is an extremely dense rock with a relative hardness value equivalent to or even greater than that of steel.

The absence of holes on the eyes or mouth for sight and breathing suggests that this mask was not made to be worn on the face, at least not by the living. The presence of holes on the sides and on the ears nevertheless suggests a ritual use, perhaps as a pectoral or headdress component, or potentially a funerary use.

This green stone mask portrays facial features commonly referred to as the “were-jaguar.” This name is used to describe a characteristic countenance of Olmec art generally exhibiting the puffy, fat cheeks and jowls of a human baby with the slanted eyes and curved mouth of a jaguar. The jaguar is one of the most potent symbols in Mesoamerican art. Often associated with the ruling power of the king, the jaguar was the most sacred beast in the animal pantheon.

The veneration of this beast permeates the art of the Olmec. In this case, the were-jaguar mask probablyt reflects (or is connected to) the Olmec belief that, in the distant past, a union between a woman and a jaguar had produced an earlier race of were- jaguars of which the Olmecs believed to be the descendants.

Olmec Jadeite Mask - GM.0016 Origin: Mexico Circa: 900 BC to 500 BC Dimensions: 4.8” (12.2cm) high x 4.2” (10.7cm) wide x 2.5” (6.4cm) depth Additional Information: Dimension without mounting

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A beautiful example of Olmec Maskette in greenstone. The bluish colour of this stone was immensely valued by Olmecs. Jadeite is a rare variety of greenstone, and most probably originated from the Motagua River valley in present-day Guatemala, the only known source of jadeite in ancient Mesoamerica. Jadeite is an extremely dense rock with a relative hardness value equivalent to or even greater than that of steel.

The size, as well as absence of suitable holes on the eyes or mouth for sight and breathing suggests that this mask was not made to be worn on the face. The presence of holes on the sides and on the ears nevertheless suggests a ritual use, perhaps as a pectoral, belt, or headdress component, or potentially a funerary use as grave good.

Olmec Stone Maskette - ES.1078 Origin: Mexico Circa: 900 BC to 500 BC Dimensions: 5.1” (13.0cm) high x 5.5” (14.0cm) wide x 2.5” (6.4cm) depth (Dimension without mounting)

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A beautiful example of Olmec Maskette in jadeite, a stone immensely valued by Olmecs. Jadeite is a rare variety of greenstone, and most probably originated from the Motagua River valley in present-day Guatemala, the only known source of jadeite in ancient Mesoamerica. Jadeite is an extremely dense rock with a relative hardness value equivalent to or even greater than that of steel.

The size suggests that this mask was not made to be worn on the face. The presence of holes on the sides and on the ears nevertheless suggests a ritual use, perhaps as a pectoral, belt, or headdress component, or potentially a funerary use as grave good.

Olmec Stone Maskette - ES.1073 Origin: Mexico Circa: 900 BC to 500 BC Dimensions: 4” (10.2cm) high x 4” (10.2cm) wide x 1” (2.5cm) depth (Dimension without mounting)

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A beautiful example of Olmec Mask in Jadeite. Jadeite is a rare variety of greenstone, and most probably originated from the Motagua River valley in present-day Guatemala, the only known source of jadeite in ancient Mesoamerica. Jadeite is an extremely dense rock with a relative hardness value equivalent to or even greater than that of steel.

With pierced eyes and holes on the mouth and sides, this mask could have been worn by living men. For Olmecs, masks revealed the true identity and potential of the wearers. Living through the wearing of a mask could show their supernatural potential, while deceased rulers could preserve for eternity their human form.

Olmecoid Stone Mask - ES.1091 Origin: Mexico Circa: 900 BC to 500 BC Dimensions: 8.5” (21.6cm) high x 7” (17.8cm) wide x 4.5” (11.4cm) depth

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Olmec Stone Mask - PF.3142 Circa: 900 BC to 500 BC Dimensions: 7.5” (19.1cm) high x 6.5” (16.5cm) wide

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A beautiful example of Olmec Mask in Jadeite. Jadeite is a rare variety of greenstone, and most probably originated from the Motagua River valley in present-day Guatemala, the only known source of jadeite in ancient Mesoamerica. Jadeite is an extremely dense rock with a relative hardness value equivalent to or even greater than that of steel.

With pierced eyes and holes on the mouth and sides, this mask could have been worn by living men. For Olmecs, masks revealed the true identity and potential of the wearers. Living through the wearing of a mask could show their supernatural potential, while deceased rulers could preserve for eternity their human form. In this case, the were-jaguar mask reflects the Olmecs belief that, in the distant past, a union between a woman and a jaguar had produced an earlier race of were- jaguars.

Olmecoid Stone Were-Jaguar Mask - ES.1112 Origin: Mexico Circa: 900 BC to 500 BC Dimensions: 9” (22.9cm) high x 7” (17.8cm) wide x 6.5” (16.5cm) depth (Dimension without mounting)

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Olmec Stone Mask - CK.0793 Circa: 900 BC to 500 BC Dimensions: 5.5” (14.0cm) high x 5.5” (14.0cm) wide

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Olmecoid Stone Maskette - ES.1084 Origin: Mexico Circa: 900 BC to 500 BC Dimensions: 5” (12.7cm) high x 6” (15.2cm) wide x 2.5” (6.4cm) depth (Dimension without mounting)

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Teotihuacan Green Stone Mask - PH.0201 Origin: Mexico Circa: 200 AD to 600 AD Dimensions: 9” (22.9cm) high x 9” (22.9cm) wide x 2.5” (6.4cm) depth

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Teotihuacan is an ancient city that is often referred to as the City of the Gods. By 600 A.D. it was the sixth largest city in the world. It became a large urban center for people coming from all over Mesoamerica and is also famous for its sacred architecture. Situated in a temperate, fertile basin its fame spread as quickly as its prosperity, with well-established trade routes and a culture that is still impressive today. With a booming economy, an urban elite arose fostering intellectual activity, monumental building and the belief Teotihuacan was where the cosmos and the present cycle of life began.

Although the great civilization of Teotihuacan met its untimely end around 700 A.D., by the hand of invaders, the creative spirit of the people lives on in their enduring artist creations and spectacular ruins.

Much of the art that arose during this period are stone masks and figures that are simplistic. Objects like this one are characteristic of the art from this period, especially in its stylized rendering. Mystery surrounds these masks, as they are believed to have been part of funerary furniture, yet none have been found in burial chambers. Rather, they have been discovered near temples and complexes aligning the Street of the Dead. Scholars speculate they were attached to wooden armatures in temples to represent deities who are in the process of becoming gods. Hence the drill holes that are commonly present in these masks. They may also have been worn on the arm as an insignia of an important person.

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Teotihuacan is referred to as the city of the gods. By 600 A.D. it was the sixth largest city in the world. Situated in a temperate, fertile basin its fame spread as quickly as its prosperity, with well-established trade routes and a culture that is still impressive today. With a booming economy, an urban elite arose fostering intellectual activity, monumental building and the belief Teotihuacan was where the cosmos and the present cycle of life began. The concept of monumentality can apply not only to great architectural structures such as the Pyramid of the Sun, but also to much smaller objects which have an intensity that makes them larger than life. Stone masks are perhaps the most famed works of Teotihuacan art. Mystery surrounds these mask, as they are believed to have been part of funerary furniture, yet none have been found in burial chambers. Rather, they have been discovered near temples and complexes aligning the Street of the Dead.

Scholars speculate they were attached to wooden armatures in temples to represent deities who are in the process of becoming gods. Hence the drill holes that are commonly present in these masks. They may also have been worn on the arm as an insignia of an important person. Other facets of Teotihuacan’s artistic output include cylindrical vessels, which were the highly prized possessions of the wealthy elite. They were prestige objects that were both ceremonial and functional. From 250 A.D. onwards, objects made from clay increased dramatically, serving a wide variety of purposes and functions. Most impressive are sculptures representing host figurines or “puppets”. Both categories were found in burials and caches. The host figurine commemorated important events within the city of Teotihuacan and other parts of Mesoamerica, portraying individuals of different rank and status (such as soldiers, merchants or bureaucrats), and occasionally divinities.

Puppets, or articulated figurines, constitute a fascinating group of clay objects with moveable limbs. Although the great civilization of Teotihuacan met its untimely end around 700 A.D., by the hand of invaders, the creative spirit of the people lives on in their enduring artist creations and spectacular ruins.

Teotihuacan White Stone Mask - CK.0260 Origin: Mexico Circa: 250 AD to 650 AD Dimensions: 7” (17.8cm) high x 6.875” (17.5cm) wide Additional Information: Preusser Lab Test

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A beautiful example of Mayan Mask in jadeite. Jadeite is a rare variety of greenstone, and most probably originated from the Motagua River valley in present-day Guatemala, the only known source of jadeite in ancient Mesoamerica. Jadeite is an extremely dense rock with a relative hardness value equivalent to or even greater than that of steel.

The absence of holes on the eyes or mouth for sight and breathing suggests that this mask was not made to be worn on the face, at least not by the living. The presence of holes on the ears nevertheless suggests a ritual use, perhaps as a pectoral or headdress component, or potentially a funerary use.

Mayan Jade Mask - ES.1117 Origin: Guatemala Circa: 500 AD to 900 AD Dimensions: 9” (22.9cm) high x 8.5” (21.6cm) wide x 3.5” (8.9cm) depth

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EGYPTIAN AND CLASSICAL

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In ancient Egypt, masks were primarily used for funerary purposes Ancient Egyptians believed that it was extremely important to preserve the body of a dead person because the soul must have a place where to dwell upon death. Preservation of the dead body was achieved by mummification but it was also considered equally important for the soul to be able to recognize the body, so it could return to it. For such reason death masks were abundantly used, made in the likeness of the deceased. Early masks were made from wood, followed by masks in cartonnage, a material made from papyrus or linen and soaked in plaster and then molded on a wooden mold, a cheap variant intended for lower class. Royal death masks were made from precious metals, mostly gold or gold leaves on bronze.

All death masks were made to resemble the deceased but with slightly enlarged eyes and a faint smile. They also showed the fashion of the moment with painted jewellery and makeup. These death masks later evolved into full-body coffins in the human shape, preserving the same decorations and ornaments. Extracted from the lid of an anthropomorphic coffin and finely sculpted, this perfectly modeled naturalistic and very expressive face was originally framed by a smooth wig, the lappets of which are not preserved. The broad mouth with full lips is pursed into a faint smile with indented corners, the slender nose is well-defined, especially on the outer edges of the nostrils, the eyes are almond-shaped with large, dark irises. The reddish preserved stucco reveals that the person depicted is a male.

Egyptian Wooden Mask - PH.0240 Circa: 600 BC to 500 BC Dimensions: 10” (25.4cm) high x 9” (22.9cm) wide

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The funerary rites and rituals of Egypt are among the most complex, elaborate, and celebrated burial traditions in the ancient world. The foremost concern was the preservation of the body, in order that it might be reborn in the afterlife. While the painstaking mummification process achieved this goal of stopping the effects of physical decay, the ancient Egyptians were not satisfied with a wrapped body alone. Gorgeously decorated mummy cases and sarcophagi developed over the course of thousands of years so that the body could be properly presented to the audience of the gods awaiting the deceased’s arrival in the next world. These cases were created from a variety of materials, including stone, wood, and cartonnage (layers of linen and papyrus covered in plaster), that were utilised depending upon the wealth and status of the deceased.

Egyptian Wooden Funerary Mask - EM.004 Circa: 600 BC to 300 BC Dimensions: 5” (12.7cm) high

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Egyptian Wooden Funerary Mask - EM.001 Circa: 600 BC to 300 BC Dimensions: 8” (20.3cm) high

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Egyptian Wooden Funerary Mask - EM.003 Circa: 600 BC to 300 BC Dimensions: 7.25” (18.4cm) high

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Ptolemaic Painted Wooden Funerary Mask - CK.0285 Circa: 3rd Century BC to 1st Century BC Dimensions: 15” (38.1cm) high x 10.25” (26.0cm) wide

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This painted wooden funerary mask is a splendid example of Egyptian art. Wooden sculptures from Ancient Egypt are exceedingly rare, since fine wood was scarce and expensive. Considering the relative expense of wood, it is likely that this work was once inserted into a large mummy case likely formed from cartonnage or carved from stone. Dowel pins still in place on the reverse support this theory.

However, the focus here is the face, expertly rendered with idealized features. The stylized almond-shaped eyes, so characteristic of Egyptian art, with tapering cosmetic lines and black brows, draw our attention with their captive gaze. They appear to stare back at us from beyond the grave. Who might this person have been? A pharaoh? A priest? A scribe? Surely he was someone of tremendous importance and great stature in order to be honoured with such a gorgeous rendition of his being.

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Masks were an extremely important part of Roman theatre. This is because the masks that the actors wore helped carry the voice of the actor so that members of the audience were able to hear what the actors were saying. It has been suggested that because of the shape and sizes of the masks that were used, voice projections were able to be heard from a greater distance than you could hear someone who was not wearing a mask. This was exceedingly important in the architectural setting of the large theatres of the ancient world.

Theatre masks were important for a variety of different reasons; to distinguish a character, to project the actors voice and to relay the emotional disposition of a character. Theatrical performances were dependent upon masks and body movement to relay not only what an actor is saying but also how they are feeling. Masks require a wholly different style of acting in order to communicate what is lost by the lack of facial expression; the masked actor must compensate by using a complementary physicality.

Rather than limiting the actor’s ability to transfer complex text or emotions, however, the stylized movements of a masked actor bring a new dimension of expression, as well as a new language, to the performance.

Roman theatrical female mask - MS.1696 Origin: Mediterranean Circa: 100 AD to 300 AD Dimensions: 7.20″ (18.3cm) high

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Roman Period Cartonnage Funerary Mask of a Man - LO.1382 Circa: 1th Century to 3th Century Dimensions: 9.0” (22.9cm) high

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Customary to the Egyptian funerary tradition, a mask is created to cover the face of the deceased and replaces the mutilated visage of the mummified corpse in the eternal life. This particular Roman Period plaster funerary mask is striking in its vibrant and well-preserved hues. The woman appears to be wearing a decorative headdress embellished with rosette-like figures, which resemble jewellry. The turquoise base of the headdress envelops the woman’s hair in twisted braids. One also views her elaborate coiffure modelled in relief, which attests to the Roman influence upon an ancient Egyptian tradition.

This seemingly young woman gazes at us with her large, almond-shaped eyes beautifully outlined in black by kohl, a popular cosmetic practice. The grayish eye shadow and black mascara enhance the size of the woman’s eyes. With lips reddened to match the colour of the rosettes on her headdress, her mouth is cracked open to reveal a possible intention to initiate conversation. Does this woman have something to say? The woman’s stare leaves an everlasting impression on us and ignites our imaginations even more to further understand her role and function during the Egypto-Roman period.

Roman Period Plaster Funerary Mask of a Woman - LO.1312 Circa: 100 AD to 200 AD Dimensions: 11.2” (28.4cm) high x 7.8” (19.8cm) wide

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Roman Period Stucco Funerary Masks of a Woman - FF.077 Circa: 2nd Century AD to 3rd Century AD Dimensions: 11.8” (30.0cm) high x 7.0” (17.8cm) wide

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Roman Period Stucco Funerary Mask of a Man - X.0441 Circa: 2th Century to 3th Century Dimensions: 8.5” (21.6cm) high

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This gorgeous plaster funerary mask reveals that the traditional Egyptian arts continued to flourish even under Roman rule. In fact, the Egyptian style was reinvigorated with a healthy dose of Roman classicism that elegantly merges with the stylized traditions of Egypt.

Here, a man wearing a diadem has been depicted with textured hair, solemn features, and a tight-lipped expression. Overall, his physiognomy is typical of the multiethnic population of Egypt in the Roman Period. His skin has been painted a soft creamy hue, while his hair, eyebrows, and neatly trimmed beard and moustache have been painted black. Multiple little painted dots are used to create the beard and moustache.

His eyes and lashes have been detailed in black paint, while a thin red line encircling his eyelids heightens the sense of realism. Most of these life-size masks were made for Greek and Roman merchants and administrators who settled in Egypt. They generally show some attempts at portraying an individual, but with conventionalised features. These heads were made separately in molds, with gender-specific details added subsequently, and attached to the mummy case or cartonnage so that they are half raised up off the surface, as if the deceased was just awaking in his new afterlife. The masks were usually painted with realistic colours and some were even gilt. Looking into this mask is like looking into a mirror. It is easy to see ourselves inside this carefully modelled face. We wonder if his life, if his cares and concerns, were really that different than our own?

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AFRICAN

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Benin Bronze Mask of a Leopard with Bells LK.167 Circa: 18th Century AD to 19th Century AD Dimensions: 14.1” (35.8cm) high x 7.8” (19.8cm) wide

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Africaqn Senufo Wooden Kpeliye’e Mask - PH.0226 Circa: 1860 BC to 1920 AD

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Dan Mask with Raffia - PH.0238 Circa: 1870 BC to 1920 AD Dimensions: 19.5” (49.5cm) high x 8.5” (21.6cm) wide

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Benin Bronze Mask of a Leopard with Bells - LK.167 Circa: 18th Century AD to 19th Century AD Dimensions: 14.1” (35.8cm) high x 7.8” (19.8cm) wide

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The Chokwe live in an area that straddles the nations of Zambia, Congo and Angola. Seemingly descended from several pygmy tribes, they were incorporated into the Lunda Empire during the 18th century but later achieved independence and refused to pay tribute to the Lunda emperor. Their strategic location (for trading) and access to raw materials such as ivory and rubber led to burgeoning wealth and political influence that was essentially unchallenged until the early 20th century when the European thalassocracies – notably Portugal – brought an end to Chokwe dominance of the area.

This mask is designed to represent the ideal woman in a series of mukanda (circumcision) initiation ceremonies. She is either Pwevo (or Pwo) – meaning a fulfilled woman – or an adolescent woman on the verge of adulthood, dubbed Mwana Pwevo (or Mwana Pwo).

The circumcision rituals are incomplete without this character, who is escorted with great pomp and circumstance to the chief of the village, and then demonstrates all womanly virtues while coordinating music, dancing and other aspects of the ceremonies. She will also dance, usually in an eroticallycharged manner, to emphasise fertility, fecundity and sensuality, the positive aspects of achieving social maturity. She also demonstrates her otherworldly status as a spirit by acrobatic displays, or stilt walking.

The dancer is always male; the woman of the village have the right to attack or otherwise dismiss a substandard performer if they feel that he is not painting womanhood in an appropriate light. They are also told a secret name for the dancer – who they are not supposed to be able to identify, the mukanda ceremony being an exclusively male preserve – which they can use to request the return of a favoured performer. The Pwevo performer marks a bridge between the boy’s mothers and their mukanda status, and thus occupies a very important role within the society. This mask reflects this importance, and is also an extremely refined and perfectly-executed example. The body is made from a dark wood with a marked patina. The face is tall, with a rounded brow tapering symmetrically to a pointed jaw, and surmounted by a band of hatched design denoting a headband, or hair. The eyes are slitted, with high arched brows and a slim, tapered nose. The lips are prominent and slightly parted to reveal small, triangular teeth. The scarifications denote the area to which the mask was made (probably in the “expansion” style of the Kwili Kwasai – found on the border between Angola and the DRC) while the central forehead scarring, which is known as cingelyengelye, reflects early Portuguese influence. The ears and small and prominent, and bear metal earrings in each lobe. The whole is surmounted by a band of cowrie shells and a knotted rope head-dress, which gives way to a net arrangement designed to fit over the head of the dancer and thus disguise his identity. This is a virtuoso piece of carving, perfectly executed and beautifully finished.

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Benin Bronze Mask of an Oba - LK.166 Circa: 18th Century AD to 19th Century AD Dimensions: 9.8” (24.9cm) high x 6.”

(15.2cm) wide

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Lega Mask - PH.0225 Circa: 1870 BC to 1930 AD Dimensions: 8.8” (21.5cm) high x 6” (15cm) wide

Dan Mask - PH.0223 Circa: 1890 BC to 1930 BC Dimensions: 9” (22.8cm) high x 5” (12.5cm) wide

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Dan Mask - PH.0224 Circa: 1900 BC to 1930 AD Dimensions: 8” (20cm) high x 5.5” (13.3cm) wide

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Grasslands Wooden Mask - PF.4013 Circa: 19th Century AD to 20 h Century AD Dimensions: 16” (40.6cm) high x 13” (33.0cm) wide

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Wooden Polychrome Mask - LSO.249 Circa: 19th Century AD to 20th Century AD Dimensions: 8.5” (21.6cm) high x 5.0” (12.7cm) wide

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Within the homogenous structure of the Bambara, many associations exist.

These organizations, both for men and women, are crucial to maintaining a cohesive structure in each village. They offer religious instruction, serve as a moral guide and provide political unity; most often expressed through important events such as initiation ceremonies.

The Komo for instance, welcomes all male adolescents after their circumcision and arranges dance ceremonies using their own distinctive masks for weddings and inaugurations. These occasions were of such importance even their announcement was something of an event. This is where such objects as this lovely missionary mask were used. The person who wore it was someone of importance, and his appearance was greatly anticipated. The mask served as a vehicle of dramatic effect, elevating the level of excitement by depersonalizing the wearer, as if he were no longer merely human but embodied supernatural qualities. This connected the real world with the realm of ancestors and spirits, thus including the deceased in an important ceremony of the present.

It was therefore crucial that such a mask be exceptionally beautiful.

In this mask, we are immediately impressed by the gentle curve of the face, accented by scarification on the sides extending from ears to below the chin. The hairstyle is particularly delightful with striated bands around the forehead, crowned by a scroll-like extension that adds dimension and height.

An object that retains such power need not be in its place of origin to stir our imaginations. Through it we are transported to another time and place where a great event is announced, heralding a new beginning, while still retaining the glories of the past.

Bambara Wooden Ceremonial Face Mask - PF.4582 Circa: 19th Century AD to 20th Century AD Dimensions: 10.75” (27.3cm) high x 5.75” (14.6cm) wide

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Hand-sculpted anthropomorphic wooden mask with applied brown, white and black detailing from the Guro people of the Côte d’Ivoire (Ivory Coast), in the valley regions of the Bandama River. Guro art is stylistically elegant. This arresting piece marks the typical features of the Guro’s dominant artistic output. The elongated face, concave profile and slanted eyes are shared by these masks.

Many Guro masks represent Gu, and as such have features that correspond to traditional Guro ideals of feminine beauty, such as a narrow, well- proportioned face with small chin, high forehead, arching black eyebrows, lowered eyelids, a narrow nose with delicate nostrils, and slightly open mouth. There is no central political authority among the Guro people and power is held by a council of elders comprised of the head men of the various village quarters, as well as a number of men’s associations.

The most significant men’s association is the Je society. This society uses a variety of anthropomorphic and zoomorphic masks, some fitted with staff-like superstructures, all ostensibly fatal for women to view and used for purposes of social control. Holes for attachment to the sides of the face indicate that this mask was originally attached to some such structure. Guro masks are now employed primarily for entertainment.

Guro Mask - LR.041 Circa: 1850 AD to 1910 AD Dimensions: 11” (27.9cm) high x 6” (15.2cm) wide

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The Baule live across the Ivory Coast area, and have an economy based primarily on sedentary agriculturism. They have thus been able to build up a considerable political and economic stronghold, which has in turn given rise to a strong ritual and artistic heritage. Their own creation story relates to an ancient migration, in which the queen was forced to sacrifice her son in order to ford a mighty river. So upset was she that all she could say was “baouli” (“the child is dead”), thus giving rise to the tribe’s name.

The sculptures made by the Baule reflect their belief system, and is intimately linked with the duality of the sexes and the civilised/wild character of the village vs. the ‘bush’. Bush spirits and spirit spouses – otherwordly partners that appear in dreams, and who must be appeased – are notable artistic accomplishments of the Baule, in addition to naturalistic and deconstructed zoomorphic figures and masks, which relate to cultic activity and ceremonial celebration of fertility, agriculture and appeasement of ancestors or potentially harmful natural forces.

Baule Brass Face Mask Surmounted by a Bird - CK.0333 Circa: 20th Century AD Dimensions: 11” (27.9cm) high x 6.125” (15.6cm) wide

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He-He Wooden Mask - PF.3382 Circa: 20th Century AD Dimensions: 9” (22.9cm) high x 7” (17.8cm) wide

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Yoruba Wooden Polychrome Dance Mask - LA.576 (LSO) Circa: 20th Century Dimensions: 28” (71.1cm) high

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The Chokwe live in an area that straddles the nations of Zambia, Congo and Angola. Seemingly descended from several pygmy tribes, they were incorporated into the Lunda Empire during the 18th century but later achieved independence and refused to pay tribute to the Lunda emperor. Their strategic location (for trading) and access to raw materials such as ivory and rubber led to burgeoning wealth and political influence that was essentially unchallenged until the early 20th century when the European thalassocracies – notably Portugal – brought an end to Chokwe dominance of the area.

This mask is designed to represent the ideal woman in a series of mukanda (circumcision) initiation ceremonies. She is either Pwevo (or Pwo) – meaning a fulfilled woman – or an adolescent woman on the verge of adulthood, dubbed Mwana Pwevo (or Mwana Pwo).

The circumcision rituals are incomplete without this character, who is escorted with great pomp and circumstance to the chief of the village, and then demonstrates all womanly virtues while coordinating music, dancing and other aspects of the ceremonies. She will also dance, usually in an eroticallycharged manner, to emphasise fertility, fecundity and sensuality, the positive aspects of achieving social maturity. She also demonstrates her otherworldly status as a spirit by acrobatic displays, or stilt walking.

The dancer is always male; the woman of the village have the right to attack or otherwise dismiss a substandard performer if they feel that he is not painting womanhood in an appropriate light. They are also told a secret name for the dancer – who they are not supposed to be able to identify, the mukanda ceremony being an exclusively male preserve – which they can use to request the return of a favoured performer. The Pwevo performer marks a bridge between the boy’s mothers and their mukanda status, and thus occupies a very important role within the society. This mask reflects this importance, and is also an extremely refined and perfectly-executed example. The body is made from a dark wood with a marked patina. The face is tall, with a rounded brow tapering symmetrically to a pointed jaw, and surmounted by a band of hatched design denoting a headband, or hair. The eyes are slitted, with high arched brows and a slim, tapered nose. The lips are prominent and slightly parted to reveal small, triangular teeth. The scarifications denote the area to which the mask was made (probably in the “expansion” style of the Kwili Kwasai – found on the border between Angola and the DRC) while the central forehead scarring, which is known as cingelyengelye, reflects early Portuguese influence. The ears and small and prominent, and bear metal earrings in each lobe. The whole is surmounted by a band of cowrie shells and a knotted rope head-dress, which gives way to a net arrangement designed to fit over the head of the dancer and thus disguise his identity. This is a virtuoso piece of carving, perfectly executed and beautifully finished.

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Olmec Pesquero Style Jade Mask - CK.0053

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