This mask originates from the cultural border region between the Nalú and Baga peoples in present-day Guinea-Bissau and the adjacent coastal region of Guinea. It belongs to the group of so-called Nite-Kamatchol masks, which appear in the context of initiatory and communal rituals and embody complex notions of transformation, authority, and spiritual mediation. In these performative contexts, masks function as active manifestations of supernatural forces. Formally, the mask is defined by a clear vertical structure. The oval face flows seamlessly into a long, pointed beard, creating a continuous downward movement. The absence of a mouth is striking, reinforcing the physiognomic reduction and directing attention to other expressive features. The slightly domed forehead and the only rudimentary eye area are subtly defined by volume, contrasting with the cheeks, while the narrow, precisely crafted nose serves as the central axis. The helmet-like headpiece with its central crest is richly ornamented and structured by diamond-shaped cutouts. A encircling band frames the form and terminates in small, stylized ears. The beard itself is divided by a central band and ornamentally detailed, further emphasizing the vertical composition. Mounting it on a staff with a richly decorated base - adorned with crocodiles and long-beaked birds - expands the iconographic dimension to include animal symbolism. Cracks and wear testify to intensive use. The mask articulates a visual language in which human, animal, and abstract elements merge into a multifaceted spiritual unity. Literature (selection) Lamp, Frederick John: Art of the Baga: A Drama of Cultural Reinvention. New York, 1996. Cole, Herbert M.: Icons: Ideals and Power in the Art of Africa. Washington, 1989. Thompson, Robert Farris: Flash of the Spirit. New York, 1983. LaGamma, Alisa (ed.): Sahel: Art and Empires on the Shores of the Sahara. New York, 2020. CAB47749 #afrohemian26