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G.B & Associates. International Fine Art Dealers, Quai des Grands-Augustins, Paris (2026)

20/06/2026

Igbo Shrine Figure
Igbo • Nigeria
EXPERTISE SUMMARY REPORT – GB'S PARIS
Expertise No.: GBSP-2026-057
Object Appraised Seated anthropomorphic shrine figure (Ntekpe or altar figure) – Stylistic attribution to the Igbo people, southern Nigeria.
Proposed Period Mid-20th century (circa 1940–1960) – stylistic attribution and presumed age only.
Dimensions Height: 47 cm Width: 26 cm Depth: 23 cm
Weight 8.2 kg (dense red terracotta)
Materials and Technique Hand-modeled and fired red clay terracotta. Seated figure on a stool, elaborate crested hairstyle, ringed necklace, hands resting upon the knees. Surface with traces of white and red polychrome, typical of Igbo shrine figures.
Physical Description and Visual Examination Seated anthropomorphic figure characteristic of Igbo art from southern Nigeria. The figure features a complex crested hairstyle, pronounced facial features (closed or half-closed eyes, expressive mouth), a powerful torso, and stylized limbs. The terracotta modeling and traces of reddish slip are a characteristic feature of Ntekpe shrine and family altar figures.
Examination of the submitted photographs reveals an aged patina, traces of wear, and libations consistent with prolonged ritual use.
Condition Generally good condition for a terracotta of this size. Some stable old cracks and superficial wear related to age and ceremonial use. No major restorations visible.
Scientific Analyses No scientific testing was performed. This assessment is based solely on visual and stylistic examination of the provided photographs and documentation.
Provenance Acquired from a historic private European collection. Reported place of collection: southeastern Nigeria (Igbo region). According to accompanying documentation, the piece was reportedly collected locally in the mid-20th century.
Comparative References This figure displays stylistic characteristics (seated posture, crested hairstyle, red terracotta modeling, ringed necklace, and stylized proportions) that are highly consistent with Igbo shrine figures (Ntekpe) documented in the following collections:
• Art Institute of Chicago – Shrine Figure (Ntekpe), Accession Number 2003.83
• The Metropolitan Museum of Art, New York – Maternity Figure (Ntekpe), Accession Number 1978.412.515 and other Igbo terracotta figures
• Musée du quai Branly – Jacques Chirac, Paris (major Igbo collections and southern Nigerian ritual figures)
• Royal Museum for Central Africa (AfricaMuseum), Tervuren, Belgium (Igbo ethnographic collections)
Conclusion Based on the available evidence, this figure exhibits stylistic, technical, and iconographic characteristics consistent with Igbo terracotta shrine figures from southern Nigeria (mid-20th century). Its terracotta composition, red clay modeling, and formal attributes strongly support this attribution. The absence of scientific analysis (notably thermoluminescence) remains the primary limitation.
The photographic evidence, physical characteristics, and accompanying documentation support this attribution. This opinion is based on all currently available visual, stylistic, and documentary evidence. It should be considered provisional and indicative only, and should not be construed as a definitive authentication.
Legal Disclaimer This summary report does not constitute an absolute guarantee of authenticity or market value. It has been prepared on the basis of the documentation supplied to GB'S PARIS (https://www.expert-arts-premiers.com/.../our-expertises.html) and direct physical examination of the object.
GB'S PARIS – Tribal Art Expertise and Authentication 6 rue des Grands Augustins, 75006 Paris [email protected]

20/06/2026

Tiv Skeleton Figure Tiv • Nigeria
EXPERTISE SUMMARY – GB'S PARIS
Expertise No.: GBSP-2026-067
Object Anthropomorphic skeleton figure (ancestral sculpture), stylistically attributed to the Tiv people, Taraba / Benue State, Nigeria.
Proposed Date Second half of the 20th century (circa 1950–1970), on stylistic grounds.
Dimensions Height: 69 cm Width: 19 cm Depth: 16 cm
Weight 2.65 kg (lightweight wood with pigments and patina)
Material & Technique Hand-carved wood with mineral pigments and earth. The figure presents a skeletal form with a hollowed skull, detailed ribcage, and stylized limbs beneath a sacrificial patina ranging from pinkish to brown with traces of polychromy.
Physical Description & Visual Examination A classic Tiv skeleton figure associated with ancestral and funerary practices. Tiv oral tradition associates these sculptures with commemorative rites related to historical conflicts with the Jukun. Families created miniature “coffins” and wooden skeletons to honor ancestors buried in enemy territory. The photographs reveal a well-preserved sacrificial patina, traces of ritual pigments, and carving typical of the Tiv / Jukun style from the Taraba region. The open skull relates to the enduring spiritual presence of the ancestors.
Condition Good overall. The sacrificial patina is well preserved, with some stable old cracks and minor surface wear consistent with age and ritual use. No major restorations visible.
Scientific Analysis No scientific testing, such as radiocarbon dating, has been carried out. The assessment is based solely on a visual examination of the available photographs and documentation.
Provenance From a private European collection, recently acquired on the tribal art market.
Comparative References This skeleton figure aligns closely with documented Tiv ancestral sculptures through its hollowed skull, detailed ribcage, elongated proportions, and funerary context. Comparable examples appear in:
• Musée du quai Branly – Jacques Chirac, Paris (Tiv and Jukun collections, Nigeria)
• The Metropolitan Museum of Art, New York (Tiv ancestor figures)
• Royal Museum for Central Africa (AfricaMuseum), Tervuren, Belgium (northern Nigeria collections)
• Publications on funerary art of Nigeria’s Middle Belt (Tiv, Jukun, Mumuye)
Conclusion The available evidence supports an attribution to a Tiv ancestral skeleton figure of the mid-to-late 20th century. Its refined carving, ritual patina, and connection to distinctive Tiv funerary traditions make this a rare and culturally significant piece. This remains a preliminary assessment based solely on photographs and documentation.
Legal Notice This summary report does not constitute an absolute guarantee of authenticity or market value. The opinion expressed herein is based on the documentation provided to GB'S PARIS (https://www.expert-arts-premiers.com/.../our-expertises.html) and on firsthand physical examination of the object.
GB'S PARIS – Scientific Expertise and Authentication 6 rue des Grands Augustins, 75006 Paris [email protected]

20/06/2026

Mami Wata Figure
Fon • Benin
EXPERTISE SUMMARY REPORT – GB'S PARIS
Expertise No.: GBSP-2026-054
Object Appraised Mami Wata figure – Stylistic attribution to the Fon ethnic group, Republic of Benin.
Proposed Period Circa 1922 (first quarter of the 20th century) – stylistic attribution and presumed age only.
Dimensions Height: 44 cm Width: 18 cm Depth: 15 cm
Weight 1.65 kg (dense wood with reddish patina)
Materials and Technique Hand-carved wood with a deep red-brown sacrificial patina. Hybrid representation typical of the genre: anthropomorphic female bust surmounting an ichthyomorphic lower body (fish tail). Long flowing hair, bare breasts, and slightly bent arms. Traces of pigments and ritual wear.
Physical Description and Visual Examination Characteristic Mami Wata figure of Fon Vodun culture from Benin. The figure displays a marked hybridity (human upper body and fish-like lower body), symbolizing the intersection of terrestrial, aquatic, and spiritual realms. The face features fine, stylized traits with a long, cascading hairstyle typical of this water deity.
Examination of the submitted photographs reveals an irregular, encrusted patina consistent with prolonged ritual use, including traces of libations and ritual oils or substances. The sculpture is monoxylous (carved from a single piece of wood) with a stable base.
Condition Generally good condition for an object of this period. Normal superficial wear and ritual patina consistent with age and ceremonial use. No major restorations visible. A few stable old cracks consistent with age and tropical climate exposure.
Scientific Analyses No scientific testing was performed. This assessment is based solely on visual and stylistic examination of the provided photographs and documentation.
Provenance Acquired from a private European collection. Reported place of collection: Abomey or Ouidah region, Benin. According to accompanying documentation, the piece was reportedly collected in Benin circa 1922–1925.
Comparative References This figure displays stylistic characteristics (human-fish hybridity, long flowing hair, hieratic posture, and ritual patina) that are highly consistent with Mami Wata representations in Fon Vodun culture of Benin and neighboring regions (Ewe, etc.), as documented in the following collections:
• Musée du quai Branly – Jacques Chirac, Paris (major Vodun and Mami Wata collections)
• Smithsonian National Museum of African Art, Washington
• Michael C. Carlos Museum, Emory University
• Selected private collections of Beninese and Togolese art
Conclusion Based on the available evidence, this figure exhibits stylistic, technical, and iconographic characteristics consistent with Mami Wata representations of the Fon people from Benin, consistent with examples dating to the first quarter of the 20th century. The morphological hybridity, ritual patina, and proportions align with Vodun traditions.
The photographic evidence, physical characteristics, and accompanying documentation support this attribution. The absence of scientific analysis remains the primary limitation.
This opinion is based on all currently available visual, stylistic, and documentary evidence. It should be considered provisional and indicative only, and should not be construed as a definitive authentication.
Legal Disclaimer This summary report does not constitute an absolute guarantee of authenticity or market value. The opinion expressed herein is based on the documentation provided to GB'S PARIS (https://www.expert-arts-premiers.com/.../our-expertises.html) and on firsthand physical examination of the object.
GB'S PARIS – Tribal Art Expertise and Authentication 6 rue des Grands Augustins, 75006 Paris [email protected]

20/06/2026

Expert Opinion Report – GB'S PARIS
Report No.: GBSP-2026-045
Object
Zoomorphic Figurine (Dog)
Colima Culture, Western Mexico (Shaft-Tomb Tradition)
Period
Circa 100 BCE – 250 CE (Protoclassic period)
Dimensions
Height: 33 cm (13 in.)
Length: 28 cm (11 in.)
Depth: 13.5 cm
Weight
2.8 kg
Material and Technique
Hollow thick-walled terracotta, hand-modelled, with a polished red-orange slip and subtle colour variations. Modelled details include erect ears, an expressive open mouth, raised tail and sturdy legs. The surface bears a natural patina with manganese deposits typical of prolonged burial.
Description
This hollow ceramic figure depicts a dog in a dynamic posture suggestive of barking or howling, with pricked ears and raised tail. Dogs constitute one of the most characteristic subjects in Colima ceramic production and appear frequently in shaft-tomb contexts, where they likely served as spirit guides or funerary companions. The piece combines sharp observation of nature with the bold stylisation typical of Western Mexican Protoclassic sculpture.
Condition
Good overall condition. Normal surface wear consistent with age, remarkably well-preserved red slip, and prominent manganese deposits. No significant structural cracks or evidence of past restoration are apparent. Minor erosion is confined to the raised edges.
Scientific Analyses
Thermoluminescence (TL) dating was carried out in September 2026 by the Turin Thermoluminescence Analysis laboratory (TTA, formerly TecnArt S.r.l.), under the direction of Dott. Fulvio Fantino.
TL Analysis Report No.: TTA-2026/Colima-092
The results are consistent with a firing date within the period 100 BCE–250 CE.
Provenance
Formerly in the collection assembled in the early 20th century by Roman antiquarian Filippo Tavazzi (1857–1924), active on the Roman art market with galleries at Fontanella di Borghese, Piazza di Spagna and Via Condotti. The object subsequently entered a private European collection. Accompanied by supporting acquisition and provenance documentation.
Comparative References
Similar howling dogs, with comparable red slip, size and expressive modelling, are held in the collections of:
• Los Angeles County Museum of Art (LACMA)
• The Metropolitan Museum of Art, New York
• Musée du quai Branly – Jacques Chirac, Paris
• Fowler Museum at UCLA
Report Prepared by
Guillaume Jean Alexandre BRESSO
PhD in Anthropology and Art History
Founder and Principal Expert, GB'S PARIS
Date of Report: May 2026 (updated with September 2026 analyses)
Conclusion
Taken together, the morphological, technical and iconographic features, along with the thermoluminescence results, support an attribution to the Colima culture of Western Mexico, Protoclassic period (circa 100 BCE – 250 CE).
Its substantial dimensions and expressive modelling distinguish it within the corpus of known Colima canine effigies. In the absence of secure archaeological context, this assessment should be considered provisional rather than a definitive authentication.
Legal Notice
This report reflects the professional opinion of the undersigned expert based on the information, photographs and documentation provided to GB'S PARIS. It does not constitute a guarantee of authenticity or market value. The report was prepared without destructive testing.
GB'S PARIS – Scientific Expertise and Authentication
6 rue des Grands Augustins, 75006 Paris
[email protected]
https://www.gbs-paris.com/en/pages/our-expertises.html

20/06/2026

Mitsogho Bwiti Ancestor Figure
Mitsogho (Mi-Tsogho) • Chaillu • Gabon
EXPERTISE SUMMARY REPORT – GB'S PARIS
Expertise No.: GBSP-2026-056
Object Appraised Large ancestral guardian figure (Mbumba Bwiti) – Stylistic attribution to the Mitsogho (Mi-Tsogho) people, Chaillu Massif, Ngounié Province, Gabon.
Proposed Period First half of the 20th century (circa 1920–1950) – stylistic attribution and presumed age only.
Dimensions Height: 110 cm Width: 28 cm Depth: 22 cm
Weight 14.8 kg (dense wood covered with copper and brass sheets)
Materials and Technique Hand-carved dense wood, covered with hammered and nailed copper and brass sheets. Seated figure on a stool, elongated torso, hands resting on the thighs, stylized face with inlaid eyes and elaborate coiffure. Geometric incisions and raised motifs typical of Mitsogho art.
Physical Description and Visual Examination Large anthropomorphic figure characteristic of Mitsogho art from the Chaillu Massif. The piece presents a powerful cylindrical body, a face with strong features (almond-shaped eyes inlaid with reddish material, triangular nose, open mouth showing teeth), and prominent ears. The copper and brass sheeting, partially oxidized, contributes to the figure’s imposing visual presence.
Examination of the submitted photographs reveals an old patina, traces of wear, and oxidation consistent with prolonged ritual use in a Bwiti context.
Condition Generally good condition for an object of this size and period. Some minor deformations and losses in the metal sheets, along with stable old cracks in the wood. Normal wear and ritual patina consistent with ceremonial use within the Bwiti tradition.
Scientific Analyses No scientific testing was performed. This assessment is based solely on visual and stylistic examination of the provided photographs and documentation.
Provenance Acquired from an old private European collection. Reported place of collection: Chaillu Massif, Ikobé region or Ngounié River valleys (Gabon). According to accompanying documentation, the piece was reportedly collected locally in the Chaillu region during the first half of the 20th century.
Comparative References This figure displays stylistic characteristics (monumental seated form, hammered copper and brass sheeting, elongated proportions, geometric motifs, and stylized face with inlaid eyes) that are highly consistent with large Mitsogho Mbumba Bwiti ancestor figures documented in the following collections:
• Musée du quai Branly – Jacques Chirac, Paris (major Mitsogho / Tsogho collections from the Chaillu Massif, including Bwiti figures exhibited in the permanent galleries and the exhibition “Les forêts natales”)
• Royal Museum for Central Africa (AfricaMuseum), Tervuren, Belgium (historical ethnographic collections from central Gabon and the Chaillu)
• Brooklyn Museum, New York – Reliquary Guardian Figure (Boumba Bwiti), Tsogho, Accession Number 74.121.7
• Metropolitan Museum of Art, New York (Tsogho / Mitsogho arts from Gabon, including Bwiti-related figures)
Conclusion Based on the available evidence, this figure exhibits stylistic, technical, and iconographic characteristics consistent with large Mitsogho Bwiti ancestor figures from the Chaillu Massif (first half of the 20th century). The copper sheeting, monumental proportions, and carved motifs strongly support this attribution. The absence of scientific analysis remains the primary limitation.
The photographic evidence, physical characteristics, and accompanying documentation support this attribution. This opinion is based on all currently available visual, stylistic, and documentary evidence. It should be considered provisional and indicative only, and should not be construed as a definitive authentication.
Legal Disclaimer This summary report does not constitute an absolute guarantee of authenticity or market value. The opinion expressed herein is based on the documentation provided to GB'S PARIS (https://www.expert-arts-premiers.com/.../our-expertises.html) and on firsthand physical examination of the object.
GB'S PARIS – Tribal Art Expertise and Authentication 6 rue des Grands Augustins, 75006 Paris [email protected]

20/06/2026

Female Kifwebe Mask
Songye • Democratic Republic of the Congo
EXPERT SUMMARY REPORT – GB'S PARIS
Expertise No.: GBSP-2026-068
Object Examined
Female Kifwebe mask, stylistically attributed to the Songye people of the Democratic Republic of the Congo.
Proposed Date
20th century (circa 1930–1960), based on stylistic analysis and presumed age only.
Dimensions
Height: 44 cm
Width: 23 cm
Depth: 18 cm
Weight
2.15 kg (relatively light wood with pigments)
Material and Technique
Hand-carved wood with mineral pigments in red-brown, white, and black. The mask features an abstract face with characteristic parallel striations, prominent raised eyes, a geometric nose, and an expressive mouth. It retains traces of a ritual patina and polychromy.
Material Description and Visual Examination
This female Kifwebe mask is associated with female spirit figures in the Songye tradition and was used by the powerful Bwadi Bwa Kifwebe society, an important institution for social regulation. The striated face, geometric volumes, and bold red-white-black polychromy are hallmarks of the Kifwebe style. The photographs, together with direct examination, show a well-developed patina and wear patterns consistent with repeated ceremonial handling in contexts such as initiations, chiefly funerals, and judicial proceedings.
Condition
Generally good for an object of this type and ritual function. The patina and pigments are well preserved. There are a few old, stable cracks and minor surface wear typical of prolonged ceremonial use. No major restorations are visible.
Scientific Analyses
No scientific testing (radiocarbon dating or other) has been carried out or mentioned. The assessment is based entirely on visual and stylistic examination of the supplied photographs and information, together with direct physical inspection of the object.
Provenance
From a private European collection, recently acquired on the tribal art market.
Comparative References
The mask displays the classic stylistic features — parallel striations, red-white-black polychromy, and abstract form — consistent with documented Songye Kifwebe masks in the following institutions and publications:
• Musée du quai Branly – Jacques Chirac, Paris (major Songye Kifwebe holdings)
• The Metropolitan Museum of Art, New York (Kifwebe masks)
• Royal Museum for Central Africa (AfricaMuseum), Tervuren, Belgium (historical Songye collections)
• François Neyt, Songye. La redoutable statuaire Songye d’Afrique Centrale, 2004
Conclusion
On the basis of the visual and stylistic evidence currently available, this female Kifwebe mask appears consistent with examples produced by the Songye Bwadi Bwa Kifwebe society in the 20th century. Its sculptural quality, polychromy, and cultural role in social regulation make it a fine and representative piece of Songye art. This opinion should be regarded as provisional and indicative only, not as a definitive authentication.
Legal Notice
This summary report does not constitute an absolute guarantee of authenticity or market value. It has been prepared on the basis of the documentation supplied to GB'S PARIS (https://www.expert-arts-premiers.com/.../our-expertises.html) and direct physical examination of the object.
GB'S PARIS – Expertise and Authentication
6 rue des Grands Augustins, 75006 Paris
[email protected] (mailto:[email protected])

20/06/2026

Djimini Three-Faced Mask Djimini (Jimini) • Côte d'Ivoire
EXPERTISE SUMMARY – GB'S PARIS
Expertise No.: GBSP-2026-062
Object Three-faced mask surmounted by an insect, stylistically attributed to the Djimini (Jimini) people, central/northeastern Côte d’Ivoire.
Proposed Date 20th century (circa 1920–1960), on stylistic grounds.
Dimensions Height: 33 cm Width: 22 cm Depth: 18 cm
Weight 1.65 kg (lightweight wood with natural patina)
Material & Technique Hand-carved wood, probably Ceiba pentandra or similar local light timber, with natural pigments and a deep sacrificial patina. The mask features three juxtaposed faces topped by a finely carved biting insect. Eyes, noses, and mouths are stylized with sharply incised details and traces of blue and ochre pigment.
Physical Description & Visual Examination A three-faced mask typical of Djimini art, a Mande group influenced by Senufo and Ligbi traditions. The triple faces evoke multiple forms of vision and ancestral presence, while the surmounting insect carries associations with transformation. The piece retains a well-preserved aged patina and shows signs of ritual wear, along with fine sculptural detail.
Condition Good overall. The patina is attractive with some stable old cracks and minor surface wear consistent with age and ceremonial use. No major restorations noted.
Scientific Analysis No scientific testing, such as radiocarbon dating, has been conducted. The assessment is based entirely on visual and stylistic examination of the available photographs and documentation.
Provenance From a private European collection, recently acquired on the tribal art market.
Comparative References This mask compares well with documented Djimini and Ligbi examples through its multi-faced design, surmounting insect, and overall style. Similar pieces are found in:
• The Metropolitan Museum of Art, New York (Gbain Society masks)
• Musée du quai Branly – Jacques Chirac, Paris (Djimini and northeastern Ivorian collections)
• Brooklyn Museum, New York – Mask for Gbain Society, Ligbi, Accession Number 1998.124.1
• Major private collections and standard publications on Djimini / Ligbi art
Conclusion The available evidence supports an attribution to 20th-century Djimini (Do / Gbain Society) masks. The triple-face composition and carved insect make this a distinctive and interesting piece. This assessment remains preliminary and is based solely on photographs and documentation.
Legal Notice This summary report does not constitute an absolute guarantee of authenticity or market value. The opinion expressed herein is based on the documentation provided to GB'S PARIS (https://www.expert-arts-premiers.com/.../nos-expertises.html) and on firsthand physical examination of the object.
GB'S PARIS – Scientific Expertise and Authentication 6 rue des Grands Augustins, 75006 Paris [email protected]

20/06/2026

Teke Mask Teke (Bateke) • RDC / Gabon
EXPERTISE SUMMARY – GB'S PARIS
Expertise No.: GBSP-2026-063
Object Facial mask, stylistically attributed to the Teke (Bateke) people, border regions between the Democratic Republic of the Congo and Gabon.
Proposed Date Second half of the 20th century (circa 1940–1970), based on stylistic features.
Dimensions Height: 39.5 cm Width: 34 cm Depth: 14 cm
Weight 2.35 kg (lightweight wood with basketry and pigments)
Material & Technique Hand-carved wood combined with woven wicker basketry and natural mineral pigments, including kaolin white and colored earths. The mask shows the classic heart-shaped concave face, elongated nose, and stylized eyes and mouth beneath a deep sacrificial patina with pigment residues.
Physical Description & Visual Examination An elegant Teke mask notable for its concave facial plane, clean volumes, and clever integration of basketry. Masks of this kind are linked to the Mwiri or Mungala societies and were used in initiation rites, funerals, and community gatherings. The available photographs display a well-preserved aged patina, clear evidence of ritual handling, and fine carving typical of Teke work.
Condition Good overall. The patina remains attractive, with some stable old cracks and light surface wear consistent with ceremonial use. The basketry is largely intact.
Scientific Analysis No scientific testing, such as radiocarbon dating, has been carried out. The assessment relies solely on visual analysis of the photographs and documentation provided.
Provenance From a private European collection, recently acquired on the tribal art market.
Comparative References This mask aligns closely with documented Teke examples through its concave heart-shaped face, elongated nose, basketry elements, and ritual patina. Comparable pieces are held in:
• Musée du quai Branly – Jacques Chirac, Paris (important Teke holdings, particularly Mwiri masks)
• The Metropolitan Museum of Art, New York – Teke Mask, Accession Number 1979.206.1
• Royal Museum for Central Africa (AfricaMuseum), Tervuren, Belgium (historic Teke collections)
• Brooklyn Museum, New York (Mwiri / Mungala series)
Conclusion The available evidence supports an attribution to a mid-to-late 20th-century Teke mask. The quality of the carving, the patina, and its overall presence make this a strong and representative example of Bateke ritual art. This remains a preliminary assessment based solely on photographs and documentation.
Legal Notice This summary report does not constitute an absolute guarantee of authenticity or market value. The opinion expressed herein is based on the documentation provided to GB'S PARIS (https://www.expert-arts-premiers.com/.../nos-expertises.html) and on firsthand physical examination of the object.
GB'S PARIS – Scientific Expertise and Authentication 6 rue des Grands Augustins, 75006 Paris [email protected]

20/06/2026

Wari Game Board
Luba • Democratic Republic of the Congo
EXPERT SUMMARY REPORT – GB'S PARIS
Expertise No.: GBSP-2026-065
Object Examined
Anthropomorphic Wari (mancala) game board, stylistically attributed to the Luba people of the Democratic Republic of the Congo.
Proposed Date
First half of the 20th century (circa 1900–1940), based on stylistic grounds and presumed age only.
Dimensions
Height: 63 cm
Width: 24 cm
Depth: 24 cm
Weight
4.85 kg (dense wood with an old patina)
Material and Technique
Hand-carved wood with a dark brown to black ritual patina. The board is carved in an anthropomorphic style, featuring a sculpted head on an elongated neck that rises above a rectangular playing surface with four rows of eight cups (32 in total). The sculpted feet show wear from prolonged use.
Material Description and Visual Examination
This anthropomorphic Wari board is typical of Luba prestige objects. The 32 hollowed cups are standard for mancala sowing games, while the head overlooking the board adds a symbolic and spiritual dimension often found in high-status Luba carvings. The photographs show a deep, well-developed patina consistent with extended handling, together with erosion to the feet that has caused slight instability — wear patterns compatible with long-term ritual and recreational use.
Condition
Generally good for a functional object of this period and type. The patina is attractive and well-developed. There are old stable cracks, minor surface wear, and visible erosion to the feet resulting in slight instability. No major restorations are apparent.
Scientific Analyses
No scientific testing (radiocarbon dating or xylological analysis) has been carried out or mentioned. The assessment is based entirely on visual and stylistic examination of the supplied photographs and information.
Provenance
Formerly in the collection of Oscar Michaux, Belgian colonial administrator. Reportedly sold by his widow after his death in 1919. If fully documented, this provenance would be of considerable interest for Luba art of the period.
Comparative References
The board shows stylistic features — anthropomorphic design, 32-cup layout, and deep patina — consistent with documented Luba mancala boards in the following institutions:
• Musée du quai Branly – Jacques Chirac, Paris (Luba collections, including anthropomorphic game boards)
• Royal Museum for Central Africa (AfricaMuseum), Tervuren, Belgium (historical Luba holdings)
• The Metropolitan Museum of Art, New York (Luba mancala boards)
• Standard reference publications on Luba prestige art
Conclusion
On the basis of the visual and stylistic evidence currently available, this Wari board appears consistent with Luba anthropomorphic game boards from the first half of the 20th century. The sculptural quality, surface patina, and stated provenance from the Oscar Michaux collection support this attribution. This opinion should be regarded as provisional and indicative only, not as a definitive authentication.
Legal Notice
This summary report does not constitute an absolute guarantee of authenticity or market value. The opinion expressed herein is based on the documentation provided to GB'S PARIS and on firsthand physical examination of the object.
GB'S PARIS – Expertise and Authentication (https://www.expert-arts-premiers.com/pages/nos-expertises.html)
6 rue des Grands Augustins, 75006 Paris
[email protected] (mailto:[email protected])

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