Africa | Ivory Coast
Baule Mask
Ivory Coast
Goli Glin Buffalo Mask
Baule
Ivory Coast
Carved wood and pigments
Early 20th century
Height: 65.5 cm – 25 ¾ in.
Provenance
Collection Frank Crowninshield, New York, acquired before January 1936, presumably with the assistance of John D. Graham, New York
Jacques Seligmann Gallery, New York, acquired from the above
Collection of the Surrealist artist Enrico Donati (1909-2008), New York, acquired in the 1940s
Exhibitions
Jacques Seligmann Gallery, New York, “Exhibition of Sculptures of Old African Civilizations”, January 4 – January 22, 1936
Brooklyn Museum, New York, “African Negro Art from the Collection of Frank Crowninshield”, March 20 – April 25, 1937
Goli Baule Mask 65.5 cm / Galerie Flak
Price: on request
This spectacular mask is distinguished by its expressiveness and power of evocation. In terms of iconography, it combines the features of a bushcow, the horns of a gazelle / antelope and the snout of a crocodile. It is painted red, symbolizing blood, strength and power.
This Baule mask appeared during a ritual ceremony called Goli. Goli could be performed as an entertainment, for the funeral of important men, on the occasion of the new harvest or for the visit of dignitaries.
Goli was a day-long spectacle that normally involved the whole village and included the appearance of four pairs of masks including "Goli Glin", a male spirit, the father figure in the Goli family.
Though connected with supernatural forces, Goli played the role of the intermediaries between the world of the living and that of the spirits. They asked these spirits protection and assistance in case of external danger and war and during epidemics.
This highly stylized and dramatic mask is remarkably reminiscent of early cubist paintings of guitars by Georges Braque and Pablo Picasso, two great admirers of African art.
With a historic provenance dating back to the 1930s, this work was featured in major exhibitions, notably in 1937 at the Brooklyn Museum. Since the 1940s, it was part of the collection of the artist Enrico Donati (1909–2008), a prominent figure in Surrealism. Donati initially distinguished himself through his background in sociology and music before turning to painting. Of Italian origin, he lived in Paris and later New York, joining the inner circle of André Breton and other major figures of the movement. He brought a fresh perspective to Surrealism through works imbued with mystery and organic forms.
In the 1930s, Donati developed a keen interest in non-European arts. Fascinated by ritual objects and their magical dimension, his rich collection left a lasting mark on his imagination.
For Donati, this immersion in Indigenous cultures did not translate into formal imitation, but rather into the integration of a 'primal' and magical spirit. He sought to reveal through matter and texture that which eludes the visible. To him, African and Native American arts acted as catalysts for mysterious forces—an approach he strived to capture in his own Surrealist works, where myths, enigmas, and symbols constantly engage in dialogue with the unknown world.
This Baule mask appeared during a ritual ceremony called Goli. Goli could be performed as an entertainment, for the funeral of important men, on the occasion of the new harvest or for the visit of dignitaries.
Goli was a day-long spectacle that normally involved the whole village and included the appearance of four pairs of masks including "Goli Glin", a male spirit, the father figure in the Goli family.
Though connected with supernatural forces, Goli played the role of the intermediaries between the world of the living and that of the spirits. They asked these spirits protection and assistance in case of external danger and war and during epidemics.
This highly stylized and dramatic mask is remarkably reminiscent of early cubist paintings of guitars by Georges Braque and Pablo Picasso, two great admirers of African art.
With a historic provenance dating back to the 1930s, this work was featured in major exhibitions, notably in 1937 at the Brooklyn Museum. Since the 1940s, it was part of the collection of the artist Enrico Donati (1909–2008), a prominent figure in Surrealism. Donati initially distinguished himself through his background in sociology and music before turning to painting. Of Italian origin, he lived in Paris and later New York, joining the inner circle of André Breton and other major figures of the movement. He brought a fresh perspective to Surrealism through works imbued with mystery and organic forms.
In the 1930s, Donati developed a keen interest in non-European arts. Fascinated by ritual objects and their magical dimension, his rich collection left a lasting mark on his imagination.
For Donati, this immersion in Indigenous cultures did not translate into formal imitation, but rather into the integration of a 'primal' and magical spirit. He sought to reveal through matter and texture that which eludes the visible. To him, African and Native American arts acted as catalysts for mysterious forces—an approach he strived to capture in his own Surrealist works, where myths, enigmas, and symbols constantly engage in dialogue with the unknown world.
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