111 FIG. 9 (left): Dance crest, sogoni koun. Bamana, Mali or Burkina Faso. Wood. H: 43 cm. Ex Kjersmeier Collection; Lau Sunde, Copenhagen; Otto Eilersen; Anita & Jan Lundberg, Malmö, 1980; Jan Lundberg, Malmö, 1992; Galerie Ratton-Hourdé, Paris, 2001. Photo: © Galerie Ratton, Paris. FIG. 10 (below): Dance crest, sogoni koun. Bamana, Mali. Before 1932. Wood, pigment, fi ber, beads. H: 52 cm. Collected in situ, Sogola, 1932. Ex Kjersmeier Collection. Nationalmuseet, Copenhagen, Denmark, inv. G8055. Photo © Nationalmuseet, Copenhagen. FIG. 8 (facing page): Dance crest, sogoni koun. Bamana, Mali. Before 1932. Wood, beads, fi ber. H: 41 cm. Collected in situ, Faragoran, 1932. Ex Kjersmeier Collection. Nationalmuseet, Copenhagen, Denmark, inv. G8051. currently away.”13 What was really meant by this was that they had escaped the German occupation to the safety of neutral Sweden because of Amalie’s Jewish background. A handful of curators at Nationalmuseet who were close to the Kjersmeiers quickly and discreetly moved the entire African collection from the couple’s apartment to the safety of temporary storage at the museum. In the spring of 1945 both the collectors and the collection were able to return to their home. By this time the collection was comprised of almost 2,000 objects, and it was referred to as one of the largest, if not the largest, of its kind in private hands.14
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