This monkey mask of the Guro people, Central West Ivory Coast, collected in the Oumé region is situated within the context of the richly differentiated mask-making practices of this Mande-speaking group. Tha mask shows signs of age and ritual use and has a shiny patina. Guro masks (often classified as zamble, zauli, or related types) appear in performative cycles that combine entertainment, social regulation, and spiritual mediation. Animal masks, especially those with simian features, embody ambivalent characters oscillating between savagery, cunning, and social reflection. Incl stand. Formally, the mask exhibits a heart-shaped base, whose strongly forward-curving, arched snout creates a dynamic sense of depth. The circular eye openings are accentuated by red-rimmed eyelids, simultaneously emphasizing and anonymizing the gaze. The small, forward-positioned, triangular nose and the narrow bridge of the nose, running from the hairline to the tip, structure the frontal view clearly and linearly. The open mouth, with four sharp teeth in each upper and lower row, enhances the expressive character and alludes to the figure's animalistic potential. The ridged corners of the mouth further intensify this tension. Perforations in the upper forehead area and remnants of a lateral fastening cord indicate its integration into a dynamic costume ensemble and the tight head fixation during performances. Literature (Selection) Fischer, Eberhard: Guro Masks and Sculptures. Munich, 1980. Vogel, Susan Mullin (ed.): Baule: African Art, Western Eyes. New Haven, 1997. Cole, Herbert M.: Icons: Ideals and Power in the Art of Africa. Washington, 1989. Glaze, Anita J.: Art and Death in a Senufo Village. Bloomington, 1981. CAB45778 #afrohemian26