A Tikar Bronze mask collected in in Foumban, Kimi region of Cameroon, with geometric carvings on th eface, a small bird perched on the crown and four small protrusions for the beard. Signs of oxidation and use. Incl. stand. Tikar bronze masks, produced by communities in the Grassfields region of central Cameroon, occupy a distinctive place in West African metallurgical and sculptural traditions. Although commonly associated with the Tikar polity, many such works originate from related or neighboring groups, and the term “Tikar” often functions as a broad market or scholarly designation rather than a strictly ethnolinguistic one. The masks are typically created through the lost-wax casting process, a technique that allows for fine surface detailing and the repetition of standardized forms. This method has historically been linked to specialized hereditary foundry guilds whose knowledge and ritualized procedures maintain both artistic continuity and technical precision. These bronze masks are usually not worn on the face; instead, they appear as prestige objects or are mounted on headdresses and architectural elements associated with chiefly compounds. Their iconography emphasizes idealized facial features—arched brows, almond-shaped eyes, and elaborate coiffures—indexes of composure, authority, and moral rectitude central to conceptions of leadership in the Grassfields. The stylized representation of hair and scarification often mirrors conventions found in wood sculpture from the region, suggesting a shared visual grammar between media. In some cases, these bronzes incorporate zoomorphic elements or geometric motifs that reinforce the protective and legitimizing functions of the objects within royal courts. The circulation of Tikar bronze masks in the global art market accelerated in the twentieth century, particularly during the 1930s–1960s, when collecting missions and commercial networks expanded across Cameroon. As a result, many pieces now in museums and private collections lack precise provenance, complicating attempts to situate them within specific workshops or lineages. Scholars have also noted that some modern bronzes, produced for tourist demand, replicate canonical forms without the original ritual contexts. This underscores the need for careful stylistic, technical, and contextual analysis when assessing attribution, function, and chronology. Despite these challenges, Tikar bronze masks remain important markers of social hierarchy and artistic innovation. Their form and finish reflect both local aesthetic priorities and wider Grassfields traditions of courtly display. In cataloguing such works, attention to casting seams, wear patterns, alloy composition, and stylistic parallels with documented pieces can contribute to more precise art-historical interpretations, even in the absence of complete field documentation. References Berns, Marla C. “Arts of the Cameroon Grassfields.” Fowler Museum, 1987. Nicklin, Keith. “Bronzes from the Cameroon Grasslands.” Nigerian Field, 1974. Rubin, Arnold. “Cameroon.” In African Art and Leadership, edited by Douglas Fraser and Herbert M. Cole, University of Wisconsin Press, 1972. Siegmann, William C. “Metal Casting in the Western Grassfields.” African Arts, 1990. Height: 25 cm without stand