And there are those who live with objects for a long time before letting them go.
Not long ago, an anthropologist came to see a Dogon figure.
He didn’t come alone.
He came with his wife, and they spent time with the piece — quietly, without deciding.
Nothing happened that day.
Which, in hindsight, was already meaningful.
Two weeks later, he returned.
This time, not to negotiate.
But with a different kind of proposal.
He was ready to let go of pieces he had lived with for years, in order to take one with him.
An anthropologist looks differently.
Not in terms of categories or completeness.
But in terms of use.
How an object has been handled. Returned to. Integrated into a life.
And over time, that changes what is kept.
The group that came from this exchange was not assembled.
It had already taken shape, slowly, over years.
African, but not only African.
Objects that lived alongside Oceanic works, Pre-Columbian pieces, and traces of archaeology.
Not separated, but understood in relation.
That kind of collecting leaves marks.
Not always visible at first.
But present in the surface. In the choices. In what was not discarded.
Some pieces reveal themselves immediately.
Others take longer.
Those are often the ones that remain.
Looking back, the exchange was simple.
Not a transaction.
But a moment where two ways of seeing aligned — just long enough for objects to change hands.
Below are some of the pieces that came from that moment. (click on the images to enlarge)
Mossi Mossi figure — ex New York collection, Bonhams New York Mossi — a bit older than usual with a balance that doesn’t need explanation. Height 47 cm
Mossi Mossi figure — ex New York collection, Bonhams New York Mossi — a bit older than usual with a balance that doesn’t need explanation. Height 47 cm
Mossi Mossi figure — ex New York collection, Bonhams New York Mossi — a bit older than usual with a balance that doesn’t need explanation. Height 47 cm
Mossi Mossi figure — ex New York collection, Bonhams New York Mossi — a bit older than usual with a balance that doesn’t need explanation. Height 47 cm
Mossi Mossi figure — ex New York collection, Bonhams New York Mossi — a bit older than usual with a balance that doesn’t need explanation. Height 47 cm
Mossi Mossi figure — ex New York collection, Bonhams New York Mossi — a bit older than usual with a balance that doesn’t need explanation. Height 47 cm
Mossi Mossi figure — ex New York collection, Bonhams New York Mossi — a bit older than usual with a balance that doesn’t need explanation. Height 47 cm
Mossi Mossi figure — ex New York collection, Bonhams New York Mossi — a bit older than usual with a balance that doesn’t need explanation. Height 47 cm
Mossi Mossi figure — ex New York collection, Bonhams New York Mossi — a bit older than usual with a balance that doesn’t need explanation. Height 47 cm
Boki Boki figure — ex Ursula Heijs Voorhuis collection Boki — strong hands the rest follows slowly. Height 38 cm
Boki Boki figure — ex Ursula Heijs Voorhuis collection Boki — strong hands the rest follows slowly. Height 38 cm
Boki Boki figure — ex Ursula Heijs Voorhuis collection Boki — strong hands the rest follows slowly. Height 38 cm
Boki Boki figure — ex Ursula Heijs Voorhuis collection Boki — strong hands the rest follows slowly. Height 38 cm
Boki Boki figure — ex Ursula Heijs Voorhuis collection Boki — strong hands the rest follows slowly. Height 38 cm
Dan mask Dan mask — French collection, later Netherlands Dan — almost dreaming not fully awake. Height 22 cm (32 cm on stand)
Dan mask Dan mask — French collection, later Netherlands Dan — almost dreaming not fully awake. Height 22 cm (32 cm on stand)
Dan mask Dan mask — French collection, later Netherlands Dan — almost dreaming not fully awake. Height 22 cm (32 cm on stand)
Dan mask Dan mask — French collection, later Netherlands Dan — almost dreaming not fully awake. Height 22 cm (32 cm on stand)
Dan mask Dan mask — French collection, later Netherlands Dan — almost dreaming not fully awake. Height 22 cm (32 cm on stand)
Dan divination figure Dan divination figure — French collection Dan — a form that calls the spirits the forest still responds. Height 35 cm
Dan divination figure Dan divination figure — French collection Dan — a form that calls the spirits the forest still responds. Height 35 cm
Dan divination figure Dan divination figure — French collection Dan — a form that calls the spirits the forest still responds. Height 35 cm
Dan divination figure Dan divination figure — French collection Dan — a form that calls the spirits the forest still responds. Height 35 cm
Dan divination figure Dan divination figure — French collection Dan — a form that calls the spirits the forest still responds. Height 35 cm
Igbo (Ikenga) Igbo figure (Ikenga) — collection Nancy & John Hyde DeVoe, New York (1950s–70s) Igbo — Ikenga a figure of strength, held over time — and across the ocean. Height 57 cm
Igbo (Ikenga) Igbo figure (Ikenga) — collection Nancy & John Hyde DeVoe, New York (1950s–70s) Igbo — Ikenga a figure of strength, held over time — and across the ocean. Height 57 cm
Igbo (Ikenga) Igbo figure (Ikenga) — collection Nancy & John Hyde DeVoe, New York (1950s–70s) Igbo — Ikenga a figure of strength, held over time — and across the ocean. Height 57 cm
Igbo (Ikenga) Igbo figure (Ikenga) — collection Nancy & John Hyde DeVoe, New York (1950s–70s) Igbo — Ikenga a figure of strength, held over time — and across the ocean. Height 57 cm
Ibibio Ibibio panel — Danish collection Ibibio — quiet construction with a presence that builds slowly. Height 27 cm
Ibibio Ibibio panel — Danish collection Ibibio — quiet construction with a presence that builds slowly. Height 27 cm
Pende Pende mask — ex Hans Schoute, The Hague Pende — light in appearance but not without structure. Height 23 cm
Pende Pende mask — ex Hans Schoute, The Hague Pende — light in appearance but not without structure. Height 23 cm
If one of these speaks to you, feel free to get in touch.
I’ll be happy to share more images, provenance, or details.
Over the past weeks, several collectors have told me how difficult it is to navigate the world of African masks online. Too many choices, too many claims of “authenticity,” and far too many pieces that were never used in ritual at all.
I understand the frustration. When I began 30 years ago, I made my share of mistakes too. Today, I’ve handled thousands of traditional masks, and I’ve seen the entire spectrum—from sacred instruments of ceremony to tourist replicas built to deceive.
That experience is exactly why I wrote my latest article: to help you feel confident, informed, and inspired when you add a mask to your collection.
What New and Experienced Collectors Should Know
In simple terms, here are a few key points I cover:
✔️ Why authentic masks are meaningful
Real masks were not created for decoration. They were made to serve the community—whether to honor ancestors, guide initiates, invoke protection, or embody spirits. This gives them a presence that modern copies simply cannot reproduce.
✔️ Which types are most heavily reproduced today
Masks from popular ethnic groups—Baule, Dan, Songye, and Fang—are often copied because of demand. The reproductions might look pleasing at first glance, but they lack the subtle traits of long use: wear from handling, smoke absorption, repairs, ritual additions, and layers of history.
✔️ Regions that offer safer pathways for new collectors
Certain areas of Central and West Africa still retain strong traditions and offer well-documented masks on the market. Understanding regional practices can help you recognize which pieces are more likely to be genuine.
✔️ What true age, patina, and use really look like
Authentic masks show earned surface details—not artificially rubbed, sanded, or chemically aged textures. A true layered patina tells a story of sweat, dust, ritual substances, smoke, and human hands. It doesn’t feel “designed”; it feels lived.
✔️ Why provenance matters more than people think
Provenance is not a luxury—it is protection. Knowing who collected the mask, when, where, and under what circumstances is essential. As a dealer, I expect the same proof I would demand if I were the buyer myself. And remember, provenances can also be faked, so use your sellers wisely.
If you haven’t seen real masks in museums or international vetted fairs, I think you’ll enjoy my African Art Shop. Descriptions are clear, honest, and based on decades of working with real traditional pieces, not workshop replicas.
The Personal Side: Why I Continue Searching
Many people believe African masks are mainly decorative. But once you hold an authentic one—one that has danced, protected, instructed, or comforted its community—you feel the difference immediately.
These are not just objects. They carry memory, presence, and dignity.
This is the reason I continue to search for them, study them, and bring them to collectors who honor their origins. Finding a mask that has served its community is a privilege. Preserving it is a responsibility.
Explore Authentic Masks
If you’re thinking about adding a mask to your collection—or if you simply want to see what authentic examples look like—feel free to explore the selection on my webshop.
