This royal Baule mask from the Sakassou region combines stately dignity with the formal sophistication that distinguishes Baule court art as one of West Africa's outstanding artistic traditions. The composition is dominated by a scepter-like crest rising above three tightly plaited braids. The ends of these braids terminate in bead-like ornaments, lending the silhouette a pronounced verticality. Such elaborate crests signify prestige and indicate the mask's association with royal or high-ranking ceremonial contexts. Incl stand. A grooved decorative band, arching gently across the forehead, separates the intricate coiffure from the high brow. Traces of white pigment hint at the original colorful accents. Beneath finely modeled brow ridges lie half-closed eyes; their calm, forward-facing gaze imbues the mask with a composed presence. The slender nose leads to an open, circular mouth that reveals two rows of teeth, lending the face a lively expressiveness. Knob-like scarification marks on the temples, cheeks, and corners of the mouth structure the surface, reflecting Baule ideals of refined beauty. A serrated decorative band frames the lower half of the face, reinforcing the mask's balanced ornamentation. The lustrous patina, distinct losses, signs of abrasion, and remaining fragments of attachment cords document a long history of ritual use, lending the object impressive historical authenticity. Sakassou is considered the historical center of the Baule kingdom and a significant site for the production of court art. Masks of this quality are frequently associated with prestigious festivals, commemorative ceremonies, or the representation of social authority. Their balanced combination of idealization, ornamentation, and spiritual presence is characteristic of the art of the central Baule regions. Selected Bibliography Vogel, Susan Mullin (ed.): Baule: African Art – Western Eyes. Yale University Press, New Haven, 1997. Fischer, Eberhard & Homberger, Lorenz: Die Kunst der Baule. Museum Rietberg, Zurich, 1985. Himmelheber, Hans: Negerkunst und Negerkünstler. Braunschweig, 1960. Kerchache, Jacques; Paudrat, Jean-Louis; Stephan, Lucien: L’Art africain. Mazenod, Paris, 1988. Cole, Herbert M.; Ross, Doran H.: The Arts of Ghana. University of California, Los Angeles, 1977. McNaughton, Patrick R.: African Arts from the Rita and John Grunwald Collection. Indiana University Art Museum, Bloomington, 1989. Informant Bakari Bouaflé M/A/Z/1/7/6/1/3/ 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.