Over the years, I’ve noticed that most collectors are not lacking interest — they are lacking orientation.

Where do you look?
What do you trust?
And how do you train your eye?

In this guide, I share three practical directions that I personally use — and that can quietly transform the way you see African art.

1. Train Your Eye: Use Museum Collections

If there is one habit I would recommend to any collector, it is this: spend time with museum collections.

Not only in person — but also online.

Today, many major institutions offer access to thousands of documented objects. You can study proportions, surfaces, patina, and even small details that rarely appear in books.

In the guide below, you’ll find direct and active links to museum databases, along with a selection of objects that I personally find particularly interesting.

Over time, something shifts — you begin to recognise what feels right… and what doesn’t.

→ Explore museum collections

Collector insight:
The more time you spend with strong, documented objects, the more confident your decisions become when a good piece appears.

2. Understand What You Are Really Looking At

One of the most common mistakes I see is confusion between authentic objects and decorative pieces.

The difference is not always obvious — especially at the beginning.

But authentic objects tend to have a certain internal coherence:
the proportions make sense, the wear follows use, the surface has depth, and the object carries a presence that is difficult to imitate.

In the article below, I explain how I approach this distinction in practice:

→ Read the article on authenticity

Collector insight:
Once you have seen enough authentic pieces, decorative ones start to feel strangely empty — even when they look convincing at first glance.

Ibibio “Chanel” mask — Nigeria

A Piece That Caught My Eye

While writing this, I was reminded of a mask I have kept in the collection for some time — an Ibibio “Chanel” mask.

At first glance, it may seem unusual or even playful. But if you take a closer look, you begin to see the coherence in the carving, the balance in the proportions, and the way the surface has evolved through handling and use.

It is also a good example of how African artists could absorb and reinterpret external influences, while remaining rooted in their own visual language.

This is exactly the kind of object where experience matters — not because it is obvious, but because it reveals itself over time.

→ View the Ibibio mask

3. Be Careful with Labels

African art is often simplified — sometimes too much.

Certain names are used so loosely that they can become misleading.

Take the Kuba, for example.

Behind this single label lies a complex network of workshops, styles, and neighbouring cultures. Not everything labelled “Kuba” is what you might expect — and understanding that can completely change how you evaluate an object.

In the article, I also touch on the figure traditionally associated with the founding of the Kuba Kingdom, and why that history still matters when looking at objects today.

If you want to look beyond the label and discover the story behind it:

→ Read the Kuba article

Collector insight:
Collectors who rely too much on names often miss good objects — or overpay for average ones.

A Final Thought

Collecting is not about owning many objects.

It is about learning to recognise the right ones — and having the confidence to act when you see them.

Even after 30 years, I still return to museum collections, compare objects, and refine my eye.

If you would like to explore pieces selected through that same process:

Happy and curious,
David Norden

African Antiques From Antwerp — One Eye, 30 Years of Selection
Personally chosen with curiosity and experience — so you can collect with confidence.