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African Art


late 19th–early 20th century

Wood from the Apocynaceae tree family, copper, iron, fiber, and pigment

11 1/4 × 8 1/4 × 4 1/4 in. (28.6 × 21 × 10.8 cm)
Gift of Mr. and Mrs. James M. Osborn for the Linton Collection of African Art
As they grew older, Dan masks could have taken on other, more prestigious functions than those they were originally carved to fulfill. For this reason, it is often difficult to establish the exact identity of individual masks. For example, the headband of metal blades helps identify this mask as Gaa Wree Wre, a powerful law enforcer of the Go Leopard Society, though it may originally have been used as a Deangle mask in a friendly, joyful masquerade. For the Dan, the creation of a mask is anticipated by a dream in which an ancestor spirit calls upon a man to offer help and advice. The mask is then commissioned from a carver, fulfilling the spirit’s desire to participate in human activities in a tangible form and to benefit its human counterpart.
Côte d’Ivoire
or Guinea Coast, Liberia
Not on view
19th–20th century

Dr. Ralph Linton, Sterling Professor of Anthropology at Yale, unknown date–1953
Mr. and Mrs. James M. Osborn donated to Yale University Art Gallery for the Linton Collection of African Art in 1954


Jessica Feinstein, “Art, Out of Africa,” Yale Daily News (January 30, 2004), B1, ill.

Frederick John Lamp, “Hot Space, Cool Space: The Reinstallation of the African Art Collection in the Louis Kahn Building at Yale University,” African Arts 40 (Summer 2007): 51, fig. 30.

Allen F. Roberts, Marla C. Berns, and Tom Joyce, Striking Iron: The Art of African Blacksmiths, exh. cat. (Los Angeles: Fowler Museum at UCLA, 2019), 85, fig. 3.5.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.