A Baule royal mask, Sakassou region, Ivory Coast. Incl. stand This superb carved wooden object is an anthropomorphic mask from the Baule culture. It is often associated with ritual masks used for entertainment or to symbolize prestige. The top of the mask is crowned by two massive horns that rise from the temples and curve toward each other, meeting at their tips to form an arch or a closed elliptical loop above the skull. The base of these horns is finely engraved with numerous parallel and oblique striations simulating the natural texture of animal horns (such as those of an antelope or ram). Just below the horns, a raised border delineates the hairline. It is accented by small circular or dotted incisions carved in a line across the top of the forehead. The face has a very elongated oval shape—slender and narrow—characteristic of the Guro aesthetic ideal. The forehead is particularly high and sloping. The eyes are narrow and almond-shaped, almost closed by fine horizontal slits accentuated by heavy eyelids, framed by arched eyebrows. Thin, arched eyebrows meet at the base to form the bridge of a long, straight, and extremely pinched nose. The mouth is small and projects forward expressively. At the chin, a small wooden protrusion serves as an attachment point for an authentic goatee made of dark, braided plant fibers or human hair. Two thin cords of twisted plant fibers hang through holes drilled on the sides of the mask (at the jaw and chin), remnants of the mask’s original fastening system or its raffia costume. The work is carved from dense monoxyl wood. Its surface bears a remarkable patina of wear, crusty and dark (dark brown to grayish) in places, revealing traces of ancient ritual anointings and matte earthy pigments that contrast with the lighter beige hue of the raw wood at the tips of the horns. The royal Baule mask from the Sakassou region in central Côte d'Ivoire occupies a distinct position within Baule visual culture, merging political symbolism with aesthetic and spiritual functions. Unlike entertainment or trance masks such as goli or mblo, royal masks are associated with chieftaincy, lineage prestige, and ancestral legitimacy. The Sakassou region, historically significant as a royal centre within the Baule polity, has produced masks distinguished by their elaborate iconography and high-quality craftsmanship. A royal Baule mask from this area typically features a serene and symmetrical human face, sometimes augmented with animal attributes or symbolic extensions such as horns, crests, or finely rendered coiffures. These elements are not merely decorative; they signal status, spiritual power, and connections to the mythic past. These masks may have been used in courtly rituals, processions, or commemorative events, reinforcing the authority of the ruling lineage. Their appearance affirms continuity with ancestral forces and asserts territorial and political identity. The calm expression, scarification patterns, and surface polish of such masks reflect an ideal of controlled dignity and moral rectitude associated with leadership. While not always performed in public, royal masks could emerge during important ceremonies, funerary rites for nobles, or at moments requiring the reaffirmation of royal legitimacy. They are materially imbued with significance through consecrations and ritual knowledge, often held by specialists such as komien or by members of chiefly lineages. Sakassou, as a royal Baule capital, maintains a strong heritage of these forms, which differ subtly from other regions in Côte d'Ivoire. In contrast to masks used in entertainment contexts, the royal masks are not typically danced for amusement but for the performance of power, continuity, and sacred obligation. Mask and sculpture traditions from the Sakassou area are also among the most highly sought-after categories of Baule art on the international art market. Auction results at major houses such as Sothe by’s and Christie’s consistently demonstrate strong demand for works from this stylistic group, reflecting both their aesthetic refinement and their historical prominence within the broader corpus of Baule sculpture. Reference (Selection) Boyer, Alain Michel, Baule: African Art, Western Eyes, 5 Continents, Milan 2008. Vogel, Susan Mullin, Baule: African Art, Western Eyes, Yale University Press, New Haven 1997. LaGamma, Alisa (ed.), African Art at The Metropolitan Museum of Art, The Metropolitan Museum of Art, New York, various catalogues. Susan Mullin Vogel: Baule: African Art, Western Eyes. New Haven 1997. Monni Adams: Akan Arts and Aesthetics. Los Angeles 1983. Eberhard Fischer / Hans Himmelheber: The Art of the Ivory Coast. Zurich 1984. Herbert M. Cole: Icons: Ideals and Power in the Art of Africa. Washington 1989. Christopher D. Roy: Traditional Art of Africa. Upper Saddle River 1999. Jacques Kerchache among others: L’Art Africain. Paris 1988. Some of the information is generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history. Informant: Bakari M*A*Z*1*5*3*8*78 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.