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(London: Tate Gallery Publishing, 1998), 158, 159 (color ill.), as The White Tablecloth \/ La nappe blanche, c. 1926.\n\nKate Kangaslahti, \u201cThe (French) origins and development of international independent Art on display at the Mus\u00e9e du Jeu de Paume in 1937,\u201d MODOS: revista de hist\u00f3ria de arte vol. 2, no. 2 (May-Aug. 2018), 18, fig. 3 (ill.), as La Table (The White Tablecloth), 1924.","exhibition_history":"The Hague, Gemeentemuseum, Hedendaagsche Fransche Kunst, Feb. 15\u2013Mar. 15, 1936, cat. 8, as Interieur met stilleven; Amsterdam, Maatschappij Arti et Amicitiae, Mar. 21\u2013Apr. 13, 1936.\n\nParis, Mus\u00e9e du Jeu de Paume, Origines et d\u00e9veloppement de l\u2019art international ind\u00e9pendant, July 30\u2013Oct. 31, 1937, cat. 29, as La Table.\n\nAmsterdam, Stedelijk Museum, Parijsche Schilders, Feb. 25\u2013Apr. 10, 1939, cat. 8, as Dejeuner op het terras, 1936.\n\nMinneapolis, Minneapolis Institute of Arts, Fiftieth Anniversary Exhibition, Nov. 4, 1965\u2013Jan. 2, 1966, no cat. no., as La Nappe Blanche.\n\nLondon, Tate Gallery, Bonnard, Feb. 12\u2013May 17, 1998; New York, Museum of Modern Art, June 17\u2013Oct. 13, 1998, cat. 53, as The White Tablecloth \/ La nappe blanche, c. 1926 (New York only).","provenance_text":"Galerie Hessel, Paris, probably acquired directly from the artist, by Feb. 15, 1936 [The Hague 1936]; probably sold to Pierre Loeb (1897\u20131964), Paris (Galerie Pierre), by Jan. 1, 1937, and not after late 1939 [Journal de caisse, 1937-1941, Fonds Galerie Pierre, 140\/7, Institut national de l\u2019histoire de l\u2019art; 1939 consignment list, Perls Galleries Records, Box 24, Folder 30, Archives of American Art, Smithsonian Institution, copies in curatorial object file]; consigned to Perls Galleries, New York, early 1940 [1939 consignment list, Perls Galleries Records, Box 24, Folder 30, Archives of American Art, Smithsonian Institution, copy in curatorial object file]; consigned to Paul Rosenberg & Co., New York, Mar. 24, 1942 [Mar. 24, 1942 letter from Paul Rosenberg to Gustavo Luzzatto, The Paul Rosenberg Archives, Museum of Modern Art, II.B.26, copy in curatorial object file]; sold to Paul Rosenberg & Co., New York, Nov. 21, 1944 [this and the following according to Ledger Volume: Stock Book, 1941\u20131951, Pages 30-31, The Paul Rosenberg Archives, Museum of Modern Art, IV.A.2, copy in curatorial object file]; sold to James Jerome Hill II (1905\u20131972), St. Paul, MN, June 20, 1946; sold, Christie\u2019s, London, Dec. 2, 1974, to J. Hibbet. Berry-Hill Galleries, New York, by 1978 [Architectural Digest 1978]. Sold, Christie\u2019s, New York, Nov. 19, 1986, lot 41, to Marian Phelps Pawlick; promised as a gift to the Art Institute of Chicago, June 8, 2011.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":246,"fiscal_year":null,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":true,"max_zoom_window_size":1280,"copyright_notice":"\u00a9 2012 Artists Rights Society (ARS), New York \/ ADAGP, Paris","has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":45,"l":48,"s":75,"percentage":0.06248988018134716,"population":494},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":null,"department_id":null,"artist_id":33692,"artist_title":"Pierre Bonnard","alt_artist_ids":[],"artist_ids":[33692],"artist_titles":["Pierre Bonnard"],"category_ids":[],"category_titles":[],"term_titles":["painting"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":null,"classification_title":null,"alt_classification_ids":["TM-9"],"classification_ids":["TM-9"],"classification_titles":["painting"],"subject_id":null,"alt_subject_ids":[],"subject_ids":[],"subject_titles":[],"material_id":null,"alt_material_ids":[],"material_ids":[],"material_titles":[],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"c38ad30a-7015-75d4-14d0-b03a89ab9462","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["Obj: 199119"],"contexts":{"groupings":["accession"]}},{"input":["Lunch on the Terrace (Le d\u00e9jeuner sur la terrasse)"],"weight":1,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-10-15T15:18:44-05:00","updated_at":"2026-10-15T18:30:49-05:00","timestamp":"2026-10-15T20:24:01-05:00"},{"id":106184,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/106184","is_boosted":false,"title":"Female Face Mask (Ngady Mwaash)","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAAHluZHhwY3xza393aol+c5GEeJeWlZqYl5yYlp2cm6WmpaioqLGsq7Ctq7CwsLGxsbKysrO0tAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURIMQ0kVIQizEERyIAiBNFTwgAOw==","width":5737,"height":7579,"alt_text":"A work made of wood, pigment, glass beads, cowrie shells, fabric, and thread."},"main_reference_number":"1982.1505","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1875,"date_end":1950,"date_display":"Late 19th-mid 20th century","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Kuba\nKasai region, Democratic Republic of the Congo\nCentral Africa","place_of_origin":"Democratic Republic of the Congo","description":"
The ngady mwaash<\/em> mask honors the role of women in Kuba life. It portrays a woman but, like other masks in Africa, is performed by a man. The most popular appearance of ngady mwaash<\/em> is in a pantomime about the kingdom\u2019s creation: ngady mwaash<\/em> dances together with the mooshamb-wooy<\/em> mask, representing the king (who is both her brother and her husband), and the bwoom<\/em> mask [See 1982.1506].<\/p>\n","short_description":"This densely painted and geometrically patterned Kuba mask is a ngady mwaash<\/em>, an idealized representation of a woman that honors the role of women in Kuba life. Worn by men, the graceful ngady mwaash<\/em> often appears in a pantomime about the kingdom\u2019s creation, dancing in a royal trio with the more aggressive mooshamb-wooy<\/em> and bwoom<\/em> masks at public ceremonies, initiations, and funerals.","dimensions":"31.8 \u00d7 20.6 \u00d7 20.5 cm (12 1\/2 \u00d7 8 1\/8 \u00d7 10 in.)","dimensions_detail":[{"depth":20,"width":20,"height":31,"diameter":null,"clarification":null}],"medium_display":"Wood, pigment, glass beads, cowrie shells, fabric, and thread","inscriptions":null,"credit_line":"Purchased with funds provided by the American Hospital Supply Corp., the Evanston Associates of the Woman's Board in honor of Wilbur Tuggle, Deborah Stokes and Jeffrey Hammer, William E. Hartmann, Charles A. Meyer, D. Daniel Michel, and Claire B. Zeisler; African and Amerindian Art Purchase Fund","catalogue_display":null,"publication_history":"Francois Neyt, Arts Traditionnels et Histoire au Zaire (Societe d'Arts Primitifs, 1981), p. 158 (ill.).\n\nConstantine Petridis et al., Speaking of Objects: African Art at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2020), p. 151, fig. 1.","exhibition_history":null,"provenance_text":"Galerie Wolfgang Ketterer M\u00fcnchen, Nov. 10, 1979, Ethnographic Art, 34, lot 282, as Ngaady Mwaash [illustrated on cover of auction catalogue; p. 83]; sold to Jacques Hautelet, Brussels, Belgium, and La Jolla, CA [personal communication from J. Hautelet, Oct. 2013, documented in curatorial file]; sold to the Art Institute, 1982.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":43,"fiscal_year":1983,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":198,"l":55,"s":34,"percentage":4.369752545283113e-5,"population":19},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Mask","artwork_type_id":7,"department_title":"Arts of Africa","department_id":"PC-1","artist_id":30142,"artist_title":"Kuba","alt_artist_ids":[],"artist_ids":[30142],"artist_titles":["Kuba"],"category_ids":["PC-1"],"category_titles":["Arts of Africa"],"term_titles":["masks","wood (plant material)","kuba (democratic republic of congo style","masks","carving","arts of Africa","Arts of Africa","Central Africa","inorganic material","pigment","colorant","cowrie shell","cloth","string (fiber product)","appliqu\u00e9 (technique)","adhesion","african art","african Art","ceremonial mask","glass beads","beading (process)","kingdom","origins","performance","royal","women"],"style_id":"TM-8110","style_title":"kuba (democratic republic of congo style","alt_style_ids":["TM-14183","TM-13564","TM-13489"],"style_ids":["TM-8110","TM-14183","TM-13564","TM-13489"],"style_titles":["kuba (democratic republic of congo style","Arts of Africa","Central Africa","african Art"],"classification_id":"TM-245","classification_title":"masks","alt_classification_ids":["TM-14182","TM-13486","TM-12149"],"classification_ids":["TM-245","TM-14182","TM-13486","TM-12149"],"classification_titles":["masks","arts of Africa","african art","ceremonial mask"],"subject_id":"TM-12113","alt_subject_ids":["TM-14387","TM-14386","TM-12949","TM-13797","TM-8735"],"subject_ids":["TM-12113","TM-14387","TM-14386","TM-12949","TM-13797","TM-8735"],"subject_titles":["masks","kingdom","origins","performance","royal","women"],"material_id":"TM-2431","alt_material_ids":["TM-2600","TM-2509","TM-3239","TM-2564","TM-2569","TM-2571","TM-10533"],"material_ids":["TM-2431","TM-2600","TM-2509","TM-3239","TM-2564","TM-2569","TM-2571","TM-10533"],"material_titles":["wood (plant material)","inorganic material","pigment","colorant","cowrie shell","cloth","string (fiber product)","glass beads"],"technique_id":"TM-3863","alt_technique_ids":["TM-3915","TM-3993","TM-4236"],"technique_ids":["TM-3863","TM-3915","TM-3993","TM-4236"],"technique_titles":["carving","appliqu\u00e9 (technique)","adhesion","beading (process)"],"theme_titles":[],"image_id":"346eac33-86e5-9e74-dcef-f01b5524a9c0","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1982.1505"],"contexts":{"groupings":["accession"]}},{"input":["Female Face Mask (Ngady Mwaash)"],"weight":9951,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-10-15T15:06:07-05:00","updated_at":"2026-10-15T18:11:13-05:00","timestamp":"2026-10-15T20:24:01-05:00"},{"id":146941,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/146941","is_boosted":false,"title":"Helmet Mask (Sowei)","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhAwAFAPMAACAfICkmJVNRUFVUVm1sa25tbXBvb3Z1dXh3d3l5eYB\/f4uLi5ycnKWlpainpwAAACH5BAAAAAAALAAAAAADAAUAAAQL0LGGhCHhFJDUWBEAOw==","width":8952,"height":12660,"alt_text":"A work made of wood."},"main_reference_number":"1997.361","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1900,"date_end":1950,"date_display":"Early to mid-20th century","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Sherbro or Mende\nSierra Leone\nCoastal West Africa","place_of_origin":"Sierra Leone","description":"
Until Sierra Leone was affected by a brutal civil war lasting from 1991 to 2002, helmet masks like the one displayed here were governed by the Sande association. Common among the related Sherbro and Mende peoples, this all-female group held important religious, political, and educational responsibilities. Masks with elaborate hairstyles, exemplifying local ideals of beauty, were performed by senior Sande officials at funerals, for visits of important guests, and during the initiation of young women into the association. This is one of the rare instances in Africa when women danced with sculpted masks.<\/p>\n","short_description":"Until Sierra Leone was affected by a brutal civil war from 1991 to 2002, helmet masks were governed by the all-female Sande association. Masks with elaborate hairstyles exemplified local ideals of beauty, and senior Sande members would dance with them at funerals, for visits of important guests, and during the initiation of young women into the association. This is a rare instances in Africa when women, rather than men, performed with masks.","dimensions":"48.9 \u00d7 28 \u00d7 30.5 cm (19 1\/4 \u00d7 11 \u00d7 12 in.)","dimensions_detail":[{"depth":30,"width":28,"height":48,"diameter":null,"clarification":null}],"medium_display":"Wood","inscriptions":null,"credit_line":"The Art Institute of Chicago, Through prior acquisitions of the George F. Harding Collection, Mr. and Mrs. Herbert R. Molner, and the Ada Turnbull Hertle Endowment","catalogue_display":null,"publication_history":"Frans M. Olbrechts, forward. Art of Primitive Peoples, exh. cat., London, Berkeley Galleries, 1946), no. 12a (ill.).\n\nGeorge Nelson Preston, The Innovative African Sculptor, ex. cat. (Ithaca, New York, Ithaca College Museum of Art), no. 4 (ill.).\n\nRen\u00e9 A. Bravmann, African Islam (Washington, D.C.: Smithsonian Institution Press, 1983), pp. 43, fig. 28 (ill.).\n\nStefan Eisenhofer, African Art (Taschen, Back to Visual Basics series, 2010), pp. 28-29 (ill.).\n\nConstantine Petridis et al., Speaking of Objects: African Art at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2020), cat. no. 22, pp. 76-77 (ill.).\n\nConstantine Petridis, \"Making Objects Speak at the Art Institute of Chicago: A New Publication and a Refurbished Arts of Africa Gallery,\" in Tribal Art magazine (No. 99, Spring 2021), p. 109 (ill.).\n\nConstantine Petridis, ed., The Language of Beauty in African Art, ex. cat. (Yale University Press, 2022), cat. no. 81, p. 140 (ill.).\n\nY. Biro and C. Petridis (eds.). Les arts africains histoire et dynamique (Paris: Citadelles & Mazenod, 2025), p. 362 (ill.).","exhibition_history":"London, Berkeley Galleries, \u201cArt of Primitive Peoples,\u201d Dec. 1946\u2013Jan. 1947, cat. (ill.).\n\nIthaca, N.Y., Ithaca College Museum of Art, The Innovative African Sculptor, Nov. 11\u2013Dec. 21, 1969, cat. 4; traveled to Hamilton, N.Y., The Picker Art Gallery, Colgate University, Feb. 15\u2013Mar. 15, 1970.\n\nPotsdam, N.Y., Brainerd Hall Art Gallery, State University College, African Sculpture, Rare and Familiar Forms from the Anspach Collection, Oct. 1974, cat. 106.\n\nKimbell Art Museum, Forth Worth, Texas, \"The Language of Beauty in African Art\", April 3-July 31, 2022; Art Institute of Chicago, Nov. 20, 2022 - Feb. 27, 2023, cat. no. 81.","provenance_text":"Private collection, London, by 1946 [published in \"Art of Primitive Peoples\" exh. cat., 1946, no. 12b (ill.)]. Ernst (died 2002) and Ruth Anspach, Greenwich, NY, by 1968 to at least 1983 [published in \u201cAnspach Collection,\u201d 1968, no. 3a (not illustrated); \u201cThe Innovative African Sculptor,\u201d 1969, no. 4; Bravmann, 1983, pp. 42-43, no. 28]; sold to Tom Slater (Political Gallery), Indianapolis, Ind., by 1997 [this and the following according to personal communication with Tom Slater documented in curatorial file from March 2014]; sold to Robert Laff, Chicago, Ill.; sold to Tom Slater, Political Gallery, Indianapolis; sold to the Art Institute, 1997.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":43,"fiscal_year":1998,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":37,"l":51,"s":13,"percentage":6.790658661294984e-6,"population":4},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Mask","artwork_type_id":7,"department_title":"Arts of Africa","department_id":"PC-1","artist_id":70439,"artist_title":"Sherbro","alt_artist_ids":[],"artist_ids":[70439],"artist_titles":["Sherbro"],"category_ids":["PC-1"],"category_titles":["Arts of Africa"],"term_titles":["wood (plant material)","sherbro","masks","masks","carving","arts of Africa","Arts of Africa","mende","african Art","african art","ceremonial mask","Coastal West Africa","Initiation","funerals","beauty","ritual","women","female","hairstyles"],"style_id":"TM-6310","style_title":"sherbro","alt_style_ids":["TM-14183","TM-6309","TM-13489","TM-13566"],"style_ids":["TM-6310","TM-14183","TM-6309","TM-13489","TM-13566"],"style_titles":["sherbro","Arts of Africa","mende","african Art","Coastal West Africa"],"classification_id":"TM-245","classification_title":"masks","alt_classification_ids":["TM-14182","TM-13486","TM-12149"],"classification_ids":["TM-245","TM-14182","TM-13486","TM-12149"],"classification_titles":["masks","arts of Africa","african art","ceremonial mask"],"subject_id":"TM-12113","alt_subject_ids":["TM-13596","TM-13472","TM-12079","TM-12859","TM-8735","TM-13619","TM-12562"],"subject_ids":["TM-12113","TM-13596","TM-13472","TM-12079","TM-12859","TM-8735","TM-13619","TM-12562"],"subject_titles":["masks","Initiation","funerals","beauty","ritual","women","female","hairstyles"],"material_id":"TM-2431","alt_material_ids":[],"material_ids":["TM-2431"],"material_titles":["wood (plant material)"],"technique_id":"TM-3863","alt_technique_ids":[],"technique_ids":["TM-3863"],"technique_titles":["carving"],"theme_titles":[],"image_id":"5198eb8d-3661-34e3-8b49-9acbd3b39469","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1997.361"],"contexts":{"groupings":["accession"]}},{"input":["Helmet Mask (Sowei)"],"weight":1253,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-10-15T15:06:12-05:00","updated_at":"2026-10-15T18:11:12-05:00","timestamp":"2026-10-15T20:24:01-05:00"},{"id":90248,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/90248","is_boosted":false,"title":"Female Face Mask (Ndoma)","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAAFFIP1FHQFlORVlQR1pQSVxXVIF\/foOBgIaFg4mIh4mIiIyKiIyLiZGQj5GRkpSUlJWVlZ2dnaCgoKGhoQAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAUR4MQsUjMASCIExkMUTnQoUAgAOw==","width":5587,"height":7490,"alt_text":"A work made of wood, copper alloy, and pigment."},"main_reference_number":"1988.309","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1875,"date_end":1975,"date_display":"Late 19th or mid\u201320th century","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Baule\nC\u00f4te d'Ivoire\nCoastal West Africa","place_of_origin":"C\u00f4te d'Ivoire","description":"
Until C\u00f4te d\u2019Ivoire\u2019s civil war (2002\u20132007), Baule village life was regularly punctuated by entertainment masquerades. Such spectacles included masks that were idealized portraits honoring living members of the community. They were attached to a cloth costume and worn by a man\u2014including the female mask displayed here\u2014while the person portrayed typically danced beside him. In addition to individualized traits in its hairstyle and scarifications, this mask\u2019s high forehead symbolizes intelligence and its downcast eyes suggest an introspective disposition.<\/p>\n","short_description":null,"dimensions":"28.6 \u00d7 18.1 \u00d7 12.7 cm (11 1\/4 \u00d7 7 1\/8 \u00d7 5 in.)","dimensions_detail":[{"depth":12,"width":18,"height":28,"diameter":null,"clarification":null}],"medium_display":"Wood, copper alloy, and pigment","inscriptions":null,"credit_line":"The Art Institute of Chicago, Ada Turnbull Hertle Endowment","catalogue_display":null,"publication_history":"Michel Leiris and Jacqueline Delange, L\u2019Art de l\u2019Afrique noire, exh. cat. (Festival Artistique, Besan\u00e7on: Palais Granvelle, 1958), p. 28, cat. 106, pl. xiv.\n\nSusan Vogel, Baule: African Art\/Western Eyes (Yale University Press, 1997), pp. 112-13 (ill.).\n\nJean Sousa, Looking at Art Together: A Parent Guide (Art Institute of Chicago, 2002), p. 51.\n\nAlain-Michel Boyer, Baule (5 Continents-Visions of Africa), p. 16 (ill.)\n\nConstantine Petridis et al., Speaking of Objects: African Art at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2020), cat. no. 27, pp. 84-85 (ill.).\n\nConstantine Petridis, ed., The Language of Beauty in African Art, ex. cat. (Yale University Press, 2022), cat. no. 177, p. 215 (ill.).\n\nY. Biro and C. Petridis (eds.). 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Henri Kamer (died 1992), Paris, France, by Oct. 1958 [published as \u201cCollection Henri Kamer\u201d in L\u2019Art de l\u2019Afrique noire, 1958, p. 28, cat. 106, plate xiv]. 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