31 ographical location are frequently used—the Master of Poyo (fig. 14), the Senufo masters of Lataha (figs. 17– 19), the Guro Master of Bouaflé (figs. 10–12), or the Baule Master of Totokro, for example. Other researchers, like Bernard de Grunne, use the name of a famous collector through whose hands a piece initially passed as an identifier, the Vlaminck Master, the Ascher Master, and the Himmelheber Master (figs. 23 and 26), to mention just three. Lastly, particular stylistic details can be used to identify artistic personalities. Monica Blackmun Visonà and I use this method for the artists from the Ivorian Lagoons area, whose personal names have been forever lost. Here we refer to the Master of the Beautiful Breasts, the Master of the Round Face, the Master of the Giant Hands, FIG. 10 (left): Mask, gu, with horns. Central Guro region, Côte d’Ivoire. 19th century. Attributed to the Bouaflé Master. Ex Paul Guillaume, before 1920. Museum Rietberg, Zurich. Donated by the Rietberg Society. Photo: Rainer Wolfsberger, © Museum Rietberg, Zurich. FIG. 11 (above): Mask, gu, surmounted by an animal. Central Guro region, Côte d’Ivoire. 19th century. Attributed to the Bouaflé Master. Museum Rietberg, Zurich. Donated by Eduard von der Heydt, acquired before 1927. Photo: Rainer Wolfsberger, © Museum Rietberg, Zurich. FIG. 12 (right): Heddle pulley. Central Guro region, Côte d’Ivoire. 19th century. Attributed to the Bouaflé Master. Ex Paul Fénéon, acquired before 1930. Musée Barbier-Mueller, Geneva. Photo: Studio Ferrazzini-Bouchet, © Musée Barbier-Mueller.
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