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About This Artwork
Face Mask, Late 19th/early 20th century
Wood and fur
H. 26.4 cm (10 3/8 in.)
African and Amerindian Art Purchase Fund; through prior acquisition from the Gaffron Collection, 1962.473
Across southern and central Côte d’Ivoire, masquerade practices have ranged from highly sacred rituals to secular entertainments. Some masquerades popular in the 19th and early 20th centuries have faded since that time, while others have evolved and remain relevant today. In central Côte d’Ivoire, the neighboring Baule, Bété, and Guro peoples share mutual influences, including similarities in the forms and functions of masks. In contrast, the interrelated peoples of the southern Lagoons region made small, flat masks, which grew obsolete in the mid-20th century. [See also 1976.21, 1988.309, 1971.883, and 1958.118]
— Permanent collection label
Jacqueline Delange, Arts et Peuples de l'Afrique Noire (Paris: Editions Gallemard, 1967), p. 263, fig. 57. [The Art and Peoples of Black Africa, trans. Carol F. Jopling (New York: E.P. Dutton & Co., 1974), p. 83, fig. 49].
Allen Wardwell, Primitive Art in the Collections of the Art Institute of Chicago (Art Institute of Chicago, 1965), n. pag., pl. 64.
Warren M. Robbins and Nancy Ingram Nooter, African Art in American Collections (Washington, D.C.: Smithsonian Institution Press, 1989), p. 190, fig. 404.
Roger Bediat (died 1958), Abidjan, Ivory Coast, and Paris, France, by late 1930s [personal communication with Hélène (Kamer) Leloup, October 1982]; by descent to his step-son Georges Stoecklin (died 1997), Nice and Cannes, France, 1958; sold to Henri and Hélène Kamer, Henri A. Kamer Gallery, New York, N.Y.; sold to the Art Institute, 1962.