This Baule mask from the Bouaké region of Côte d’Ivoire belongs to the wider corpus of Goli masquerade forms, which are typically characterized by a strongly abstracted, disk-like or oval facial plane surmounted by prominent sculptural additions such as horns. In this case, the large curved horns rising from the top of the mask are a key visual and symbolic marker, often understood as referencing antelope imagery associated with vitality, the bush spirit world, and the mediating forces between human society and nature. The face itself, consistent with Baule aesthetic conventions, tends toward balanced symmetry and controlled abstraction rather than portrait likeness. The surface is usually carefully finished, sometimes with remnants of pigment or patina that indicate repeated ritual handling. The presence of “remnants of attachments” suggests that this object was once further activated through fiber, raffia, cloth, or possibly metal or organic additions fixed into drilled perforations or edge holes. These attachments would have animated the mask in performance, increasing its visual impact in motion and reinforcing its liminal, spirit-associated character during dance sequences. In Baule Goli contexts, horned masks often belong to male or senior categories within the multi-mask ensemble performed during public celebrations or funerary commemorations. The structural logic of these ensembles places horned forms among more forceful or socially charged manifestations, sometimes appearing after more introductory or zoomorphic types. The Bouaké area, situated in central Côte d’Ivoire, is historically within a zone where Baule sculptural styles show a strong preference for refined surfaces combined with assertive sculptural silhouettes such as horns, crests, or radiating forms. The surviving attachment traces are especially significant for interpretation. They indicate that the mask was not conceived as a static object but as a composite assemblage: carved wood forming the “face” of the spirit, and perishable materials extending its presence into space and movement. Over time, these organic elements often disappear, leaving only the carved core, which now reads as visually more austere than its original ritual appearance. Comparable examples in museum collections describe similar disk-faced Baule masks with antelope-like horns and perforations for costume integration, reinforcing the interpretation of this piece as part of a performative Goli structure rather than a standalone portrait mask. Reference list (selection) Smithsonian National Museum of African Art, Goli mask entries (various Baule horned face masks, object records 73-7-736; 70-13-10; 2005-6-279) British Museum, Baule mask collection records (Af1956,27.34) Sotheby’s, Baule Mask, Côte d’Ivoire, auction catalogue note, “Art of Africa, Oceania, and the Americas” Masks of the World, “Baule mask from West Africa,” contextual discussion of Goli masquerade forms National Museum of African Art, Label texts on Baule horned masks and Wan-derived Goli performance structure This description was created with the help of our local informant Bakari Bouaflé and additionally with the aid of AI. Despite careful individual verification of the information provided by our informant, errors or inaccuracies may occur in the description due to the use of artificial intelligence. M*A*Z*1*3*6*1*8* The seller guarantees and can prove that the object was obtained legally. The seller was informed by Catawiki that they had to provide the documentation required by the laws and regulations in their country of residence. The seller guarantees and is entitled to sell/export this object. The seller will provide all provenance information known about the object to the buyer. The seller ensures that any necessary permits are/will be arranged. The seller will inform the buyer immediately about any delays in obtaining such permits.