Bamileke Mask Bamileke Mask

Bamileke mask. Cameroon, Grassland, s.XIX-XX.
In carved wood.
Attached document of Expertization of Primitive Art.
Provenance: J. Guardiola Collection (deceased in the 1960s). Family relations would indicate that J. Guardiola acquired this piece, among others, from his relative and explorer, Luis de Lassaletta between 1943 and 1951. Lassaletta (1921-1957) was a renowned Spanish expeditionary to Africa in the 1950s. Lassaletta was a brilliant connoisseur of West Africa, speaking several indigenous languages of present-day Equatorial Guinea, Gabon, Cameroon, Congo and Nigeria.
Bibliographical references:- Tamara Northern, The Art of Cameroon, Washington, 1984.- Tamara Northern, Expressions of Cameroon Art: the Franklin Collection, Los Angeles, 1986.- Warren M. Robbins and Nancy I. Nooter, African Art in American Collections. Survey 1989, Washington and London, 1989.
Measurements: 35 x 25 x 23 cm; 37 total height.

Bamileke mask, in carved wood in the form of an anthropomorphic face although its hybrid features denote its belonging to a magical-ritual sphere, with protruding eyes of almond-shaped profile and half-open lips, between which small teeth protrude.
Mask of helmet type "Ngoyn" (royal mask), representing a young woman, generally a princess or legitimate daughter of the favorite wife of the sultan. It belongs to the people of Bekom. The black bakelite patina is provided by the application of "gouat-mbar" oil. There are traces of natural red pigment ("ngula"). These masks were used by dancers (always men) belonging to a secret society initiates. They covered the mask with a translucent fabric that allowed them to perform the movements. The reason for the ritual was associated with the public appearances of the sultan and his family, and especially in the commemorative rite of the king's coronation ("mabou" dance).