{"title":"Benin and Ife","description":"\u003cdiv dir=\"ltr\" class=\"lRu31\"\u003e\n\u003cspan lang=\"en\" class=\"HwtZe\" jsname=\"jqKxS\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\"\u003e\u003cspan class=\"jCAhz ChMk0b\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\"\u003e\u003cspan class=\"ryNqvb\" jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eBenin and Ife is one of the focal points of our collection. These objects come from private collections from both Togo and Europe.\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\"\u003e\u003cspan class=\"ryNqvb\" jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eWhen it comes to origin, we make sure that the objects are not stolen, such as the items looted from the British punitive expedition in 1897.\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\"\u003e\u003cspan class=\"ryNqvb\" jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eSome of our Ife and Benin bronzes have official export documents.\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\"\u003e\u003cspan class=\"ryNqvb\" jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eOthers ended up in private collections without documents.\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\"\u003e\u003cspan class=\"ryNqvb\" jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eHowever, it is not always easy to check export documents for authenticity, as over the past decades we have repeatedly received documents that were officially issued but still raised doubts.\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\"\u003e\u003cspan class=\"ryNqvb\" jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eWe strive for the greatest possible transparency.\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\"\u003e\u003cspan class=\"ryNqvb\" jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eNevertheless, it must be checked in each individual case to what extent an origin can be traced, especially when exporting from today's Nigeria.\u003c\/span\u003e\u003c\/span\u003e \u003cspan class=\"jCAhz ChMk0b\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\"\u003e\u003cspan class=\"ryNqvb\" jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eThe openness with which we treat this topic has so far not led to any claims for restitution or any lawsuits being filed because one of our objects was stolen.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"ZSCsVd\"\u003e\u003c\/span\u003e\n\u003cdiv class=\"OvtS8d\" jscontroller=\"msAMEf\" jsname=\"yiB9Md\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv id=\"ow27551\" __is_owner=\"true\" jscontroller=\"gNRIbd\" jsname=\"rYMao\" jsaction=\"focusin:s5kOj;FzgWvd:uRAjKb,mebvqd,WSLPRc;bITzcd:n1Ixlc,dBh71c;iFFCZc:oeyCVc;EDR5Je:TEj9Q;Rld2oe:KkQIMc,wz6Dg\"\u003e\u003cspan lang=\"en\" class=\"HwtZe\" jsname=\"jqKxS\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\"\u003e\u003cspan class=\"jCAhz ChMk0b\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\"\u003e\u003cspan class=\"ryNqvb\" jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eWe had thermoluminescence analyzes carried out to determine the age of many Ife and Benin bronzes by laboratories that were often tested several times by different institutes and came to more or less the same results. The deviations were small. Every customer is free to choose an analysis institute of their choice and to carry out the appropriate age determination tests themselves.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-location=\"2\" class=\"UdTY9 WdefRb\" aria-hidden=\"true\" jsname=\"c3wAjc\" jscontroller=\"ZbunN\" jsaction=\"agoMJf:gXkcrf;h5CHLc:RHer4,P6Fjxb;rpiAHc:GitQp,fNH7he\"\u003e\n\u003cdiv class=\"kO6q6e\" jsname=\"jTaUub\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","products":[{"product_id":"an-early-double-faced-benin-bronze-head","title":"An early double-faced Benin bronze head","description":"\u003cp\u003eAn early double-faced Benin bronze head with bared teeth, the nose broad, curved and protruding, framed by large bulging eyes, snakes winding out of the nostrils, between the faces on each side is a hand holding a short object, above the faces are small feet arranged in a circle; thin-walled with several cracks and small holes, greenish encrusted patina of different layers. From a German private collection.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit.: Philip J. C. Dark, An introduction to Benin art and technology, Oxford 1973. Phillips, T. (ed), Africa. The Art of a Continent, 1999. Paula Girshick Ben-Amos, The art of Benin, 1995. Ekpo Eyo, Frank Willett, Kunstschätze aus Alt-Nigeria, Mainz 1983. Barbara Plankensteiner (Hg.), Benin. Könige und Rituale. Höfische Kunst aus Nigeria, Wien 2007. Ezra, Kate. Royal Art of Benin: The Perls Collection in the Metropolitan Museum of Art. Kaplan Flora S. Dr., ed. Images of power: Art of the Royal Court of Benin.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 18 cm\u003c\/p\u003e\n\u003cp align=\"left\"\u003eWeight: 1 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038024171759,"sku":"BBD015703","price":6000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD015703.jpg?v=1658155840"},{"product_id":"benin-bronze-rattle-stick","title":"Benin bronze rattle stick","description":"\u003cp\u003eBenin bronze rattle stick in three slotted segments containing metal parts that make the stick rattle when moved. At the top and at the bottom of the handle section a double figure each with finely worked features and ornaments on the clothing. The lower section consists of a flat, blade-like piece richly ornamented.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/Luschan.Tafel102.png\" alt=\"\" width=\"482\" height=\"659\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit.: Felix von Luschan: Die Altertümer von Benin, Band 1 Kap. 47, S. 446 - 448, Tafel: 102.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Benin Kingdom in southern Nigeria, rattle sticks or ukhurhe are an essential feature of Benin ancestral altars (see image on the right), whether for kings, chiefs or commoners. These staffs have one or more hollow rattle chambers near the top and are shaken while prayers are said at the altars to attract the attention of the ancestors. Ukhurhe can be made of wood or brass, with the brass models only found on royal altars.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e3.500 - 3.800,- Euro\u003c\/p\u003e\n\u003cp\u003eHeight: 150 cm\u003cbr\u003eWeight: 6 kg (incl. stand)\u003c\/p\u003e\n\u003cp align=\"left\"\u003e \u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eThese staffs are from the Benin culture. They represent the authority that is passed down in families, villages, priests or successors in general. They would be used as parts of ancestral altars to commemorate current and past leaders.  These were carved from wood for everyone except the Oba’s who would have them cast from brass and sometimes from ivory. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/Ancestral_shrine_Royal_Palace,_Benin_City,_1891.jpg\" alt=\"\" width=\"482\" height=\"357\"\u003e  \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eUnknown photographer, in the background two bronze rattle staffs, Benin City May 189, source Smithsonian Institution, Washington DC.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eOn the top of the staffs, there would be a slit that would house a wood or clay cylindrical rattle. This rattle was used to call attention to spirits so that they would come to their altar and make themselves present. These staffs were lined up by the altar where they symbolized the community and the continuity from generations of being passed down.  On the Oba’s staff there are often figures or mudfish represented.  It’s also said that the spirits from past Oba’s are housed within the staff and continue to be passed on.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eKate Ezra, Royal Art of Benin, (New York: The Metropolitan Museum of Art, 1992), 91-96.\u003c\/em\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038024270063,"sku":"DSC02581","price":3500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/DSC02581.jpg?v=1658155623"},{"product_id":"a-dignitary-brass-lost-mould-casting-benin","title":"A Dignitary, brass, lost mould casting, Benin","description":"\u003cp\u003eA Dignitary, brass, lost mould casting, Benin, Nigeria.\u003c\/p\u003e\n\u003cp\u003e\"Standing figure with mitre-shaped headdress, high collar, neck ornament of leopard teeth and breast bell, the upper part of the body is covered with a leopard skin, he carries a short curved lance in his left hand and arm cuffs on both arms, the apron is richly decorated. Very good casting with exceptionally well worked out details, such as the coral rows of the headdress, the leather stripes underneath the leopard skin and the braided band motifs on the apron. The neck cord with leopard teeth as well as the leopard skin on the head indicates that this is probably an army commander.\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan data-language-for-alternatives=\"en\" data-language-to-translate-into=\"de\" data-phrase-index=\"0\" data-number-of-phrases=\"1\"\u003eDue to the formal elements and comparisons with known similar representations in museum possession and above all the expertise of the laboratory expertise of the analytical laboratory AVENTIS, the figure can be described as an original Beninguss from the 17th century.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan data-language-for-alternatives=\"en\" data-language-to-translate-into=\"de\" data-phrase-index=\"0\" data-number-of-phrases=\"1\"\u003eLiterature and comparative pieces by Luschan F., The Antiquities of Benin, Berlin 1919, p. 84, figs. 147, 130, 152 - 156. Philipps T (ed.), The Art of a Continent, Munich, New York 1995\/1996, p. 396, Göbel P., Art from Benin. African masterpieces from the Hans Meyer collection, Leipzig 1994, p. 62\". \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan data-language-for-alternatives=\"en\" data-language-to-translate-into=\"de\" data-phrase-index=\"0\" data-number-of-phrases=\"1\"\u003eProf. Dr. Armand Duchateau, 11\/20\/2000. \u003c\/span\u003e\u003c\/span\u003eAuf Anfrage das Gutachten von Hoechst Aventis.\u003c\/p\u003e\n\u003cp\u003e40 000 - 60 000,- Euro\u003c\/p\u003e\n\u003cp\u003eHeight: 46 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 5,8 kg\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.luschan.wuerdentraeger.png\" alt=\"\" width=\"333\" height=\"416\"\u003e \u003c\/p\u003e\n\u003cp\u003eLuschan, die Altertümer Benins , page 152 ff.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eThis object can be visited during the auction in the Gallery Wolfgang Jaenicke. It will not be sent and can only be picked up. After the end of the auction, the highest bidder can have the object for further analysis by its own account without significantly affecting the object in its substance. For this analysis, the winner of the auction has a period of 14 days. The object is from an old African Collection. Restitution organizations and individuals who are intensively concerned with restitution issues were informed about the object. See also Cultural Property Protection Law (Kultur Gut Schutz Gesetz - KGSG).\u003c\/p\u003e\n\u003cblockquote\u003eAccording to the UNESCO Convention of 1970, a claim for repatriation expires one year after the authorities of a country of origin have learned where and with whom a cultural object is located. Wolfgang Jaenicke Gallery therefore always informs about every newly imported object. Especially about the bronzes from Nigeria shown on this page, which are published in the internet and are accessible to everyone. Organizations dealing with restitution issues, but also freelance art historians employed by the state, such as restitution experts like Benedicte Savoy, are regularly informed about objects in the Galerie Wolfgang Jaenicke. \\n \\nEvery buyer of an art object, regardless of whether it is made of wood, terra-cotta or bronze, must be aware that from a European legal perspective, traditional African art usually came from the respective African country of origin with insufficient export documents. Galerie Wolfgang Jaenicke, Berlin, tries to do justice to this dilemma by acting with the greatest possible transparency. The export policy of African states is problematic for art historical research since African and European dealers usually work covertly due to diffuse legal situations and important information that was passed on from trade to science before 1970 tends to be lost. \\n \\nIn case of uncertainties, please contact the managing director of Jaenicke-Njoya GmbH, Wolfgang Jaenicke. It is in the interest of the gallery to clarify any questionable situation with all available means.\u003c\/blockquote\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038025973999,"sku":"BBD015762","price":40000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD015762.jpg?v=1658058821"},{"product_id":"a-benin-animal-bronze-a-panther-is-hunts-an-antelope","title":"A Benin animal bronze, \"A panther hunts an antelope\"","description":"\u003cp\u003eA Benin animal bronze, \"A panther hunts an antelope\" in lost wax manner.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan data-number-of-phrases=\"1\" data-phrase-index=\"0\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\"\u003eProbably one of the most beautiful Benin animal bronzes that we have ever seen. The type of depiction is reminiscent of the first jungle painting that Henri Rousseau painted in 1905 and which is now in the Fondation Beyeler.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan data-number-of-phrases=\"1\" data-phrase-index=\"0\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\"\u003eRousseau's first jungle painting, Tiger in a Tropical Storm, was rejected by the Académie de peinture et de sculpture for their official Paris Salon, but he was able to show it at the 1891 Salon des Indépendants. Despite his increasing reputation, Rousseau continued to exhibit his works at the annual Salon des Indépendants, but The Hungry Lion was first shown at a third show, the Salon d'Automne, in 1905, alongside works by Matisse and Derain. Rousseau wrote a longer subtitle or caption to accompany his painting: \"Le lion, ayant faim, se jette sur l'antilope, la dévore. \u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan data-number-of-phrases=\"1\" data-phrase-index=\"0\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\"\u003eLa panthère attend avec anxiété le moment où, elle aussi, pourra en avoir sa part. Des oiseaux carnivores ont déchiqueté chacun un morceau de chair de dessus le pauvre animal Versant un pleur! Soleil couchant.\" \"The lion, being hungry, throws itself on the antelope, [and] devours it. The panther anxiously awaits the moment when it too can claim its share. Birds of prey have each torn a piece of flesh from the top of the poor animal which sheds a tear. The sunsets. The magazine L'illustration printed a copy of the work in its edition of 4 November 1905, with works by Matisse, Derain, Cezanne and Vuillard\"\u003c\/span\u003e\u003c\/span\u003e Source Wikipedia.\u003c\/p\u003e\n\u003cp\u003eDimensions: 52\/ 26\/20 cm\u003cbr\u003eWeight: 6,2 kg\u003c\/p\u003e\n\u003cp\u003e\u003cimg height=\"441\" width=\"483\" alt=\"\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/rousseau.henri..png\"\u003e \u003c\/p\u003e\n\u003cp\u003eHenri Rouseau, Fodation Beyeler , \u003cem\u003e\u003cstrong\u003eThe Hungry Lion Throws Itself on the Antelope\u003c\/strong\u003e\u003c\/em\u003e (\u003cem\u003eLe lion ayant faim se jette sur l'antilope\u003c\/em\u003e) is a large painting created in 1905. Following \u003cem\u003eScouts Attacked by a Tiger\u003c\/em\u003e the previous year, \u003cem\u003eThe Hungry Lion\u003c\/em\u003e was the second jungle painting to mark Rousseau's return to this genre after a 10-year hiatus caused by the generally negative reception of his 1891 painting.\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038026006767,"sku":"WMJ02791","price":15000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/WMJ02791.jpg?v=1658059852"},{"product_id":"a-yoruba-or-benin-brass-bell","title":"A Yoruba or Benin brass bell","description":"\u003cp\u003eA Yoruba or Benin brass bell, 19th century or older, in the shape of a human face with bulging eyes, a prominent nose with large nostrils framed by bulging eyes, old German \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eCollection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/glocken.benin.luschan.png\" alt=\"\" width=\"324\" height=\"438\"\u003e \u003c\/p\u003e\n\u003cp\u003eLit.: Luschan Band 2, Tafel 95.\u003c\/p\u003e\n\u003cp\u003e1.000 - 1.200,- Euro\u003c\/p\u003e\n\u003cp\u003eHeight: 15 cm\u003c\/p\u003e\n\u003cp\u003eWeight: 600 g\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43038027022575,"sku":"BBD002189","price":1000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD002189.jpg?v=1658156549"},{"product_id":"a-rare-benin-round-bell","title":"A rare Benin round bell","description":"\u003cmeta charset=\"UTF-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA rare Benin round bell from Nigeria depicting a panther head with a clapper 1 cm in diameter with a large decorated handle on the bell. The round shape widens towards the bottom. The nose section, accentuated by ornamental baths, is framed by pointed ears at the upper end and ends in broad nostrils with a mouth indicated below. Large slanting eyes. Typical for Benin bronzes is the rich ornamentation with cords, ribbons and chains and ribbons with grooves. Dark brownish patina.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLit.: F. von Luschan \"Die Altertümer von Benin\", Band I, S. 372, Kap. Glocken, Absatz D.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/glocken.benin.luschan.png\" width=\"320\" height=\"433\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/glocken.benin.luschan.png\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSource: F. von Luschan \"Die Altertümer von Benin\", Band 3, Tafel 094 \"Runde Glocken und Schellen\".\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 24 cm\u003cbr data-mce-fragment=\"1\"\u003eDiameter: 14 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 2,3 kg\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":43642552516847,"sku":"BBD023790","price":1200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/BBD023790.jpg?v=1670225725"},{"product_id":"a-bronze-head-in-the-style-of-tada","title":"A bronze head in the style of Tada","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA bronze head in the style of Tada, different layers of oxidized patina, some small holes of the thin-walled bronze, TL-Test Kotalla 420 years +\/- 20,5 percent.\u003c\/span\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":46486927802691,"sku":"_XBD001660","price":6000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/products\/XBD001660.jpg?v=1680785309"},{"product_id":"a-bronze-plaque-in-the-style-of-benin-ife","title":"A Bronze Plaque in the style of Benin\/ Ife","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eA Bronze Plaque in the style of Benin\/ Ife, Udo or Tsoede,\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003ethe semi-oval shield is decorated with monkeys, frogs, and snakes on the ground that we know from the well-known four-leaf ornaments of many Benin plates.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eOn the upper edge of the shield, we see three heads in half profile.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eWe have already encountered the middle head in other figures or busts, which can probably be assigned to the Tsoede style.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eThe lateral, almost identical heads are characterized by conspicuous forehead wrinkles and faces that characterize all three heads; \u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003eall three heads and the animal representations are covered with a greenish patina, which is apparently multi-layered,\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003ebut in general, the plate is in good condition\u003c\/span\u003e\u003c\/span\u003e.\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eNeither von\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eLuschan, \"Die Altertümer Benins\", Pitt Rivers Museum, \"Antique works of Art from Benin\" nor Digital Benin knows comparable specimens, although Frank Willet mentioned\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003ein his \"Ife\" bookplate 97-99 three fragments, which are very close to the two sculptures and the plate, which came from a private collection in Lomé, Togo.\u003c\/p\u003e\n\u003cp\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eCases like these show how important it is for Benin-Objects and its related objects from private collections to publish on Digital Benin.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eNot only for scientific reasons, also in cases objects are stolen, there could be a broader platform on DB to translocate these objects. In particular, because the Art Loss Register refuses to register Benin objects.\u003cbr\u003e\u003cbr\u003eTo verify the age of the bronze objects collected here, there is currently no reliable method that finds universal scientific recognition. This leads to the difficulty of distinguishing between so-called \"originals\" and so-called \"copies\". To this day we do not know reliably how old the bronzes stolen in Nigeria in 1897, which are currently the focus of discussions, are. Inquiries to museums and their so-called experts went unanswered. We only know one thing: What we collect are unique pieces of different artistic quality, which are waiting to be scientifically examined, regardless of their location in a specific time window. It would make sense not only to catalogue Benin and Ife objects and their surroundings from museum collections, as Digital Benin is trying to do but also to focus attention on those works of art in private collections.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 35,5 cm\u003cbr\u003eWeight: 2,7 kg\u003c\/p\u003e\n\u003cp\u003eRelated exemplares from the same source:\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/udo.style1.jpg\" width=\"209\" height=\"352\" alt=\"\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/udo.style1.jpg\"\u003e\u003cbr\u003eHeight: 110 cm, Weight: 15,4 kg\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/udo.style.3.jpg\" width=\"218\" height=\"350\" alt=\"\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/udo.style.3.jpg\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e55 cm, Weight: 3,7 kg\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/benin.tsoede.fragmentsfrank.willet_1_480x480.jpg?v=1688735759\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eFrank Willet, Ife, zweite Auflage 1975, plate 97 - 99. Drei fragmentarische Reliefplatten, die man in Benin fand. Sie weisen jedoch Charakterzüge auf, die an Ife- und Tsoede Bronzen erinnern und damit an Echselbeziehungenzwischen den drei drei Stilen denken lassen. Bei der Figur an der Reliefplatte unten rechts fehlen rechter Vorderarm und stab. 1975 angeblich Museum Benin.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan lang=\"en\" data-mce-fragment=\"1\" jsname=\"jqKxS\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\"\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eAlthough these three fragments are important link artefacts to Benin, these objects are not mentioned in Digital Benin.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eAre they no longer in the museum in Benin City?\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eOr was it assumed that these bronzes do not fit into the Benin context because they are stylistically close to Ife\/Tsoede?\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eBut it is precisely the mutual influence of the Kingdom of Benin on its neighbouring and partially usurped dominions that is of outstanding importance for each Benin research.\u003c\/span\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan lang=\"en\" data-mce-fragment=\"1\" jsname=\"jqKxS\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\"\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eAlso striking is the considerable discrepancy between the Benin bronzes of the National Museum in Lagos, Nigeria, published on Digital Benin and the specimens published in Benin literature in the 1970s and 1980s.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003e(A listing will follow shortly).\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eThere are two explanations for this.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003e1. The National Museum in Lagos has provided Digital Benin with an inadequate list of Benin objects.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eor\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003e2. The objects are now \"translocated\" and are now in a different location.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eIt might be desirable if the \"Translocation\" seminar at the Technical University of Berlin, initiated by Bénédicte Savoy, would also pursue this question.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":46917160534339,"sku":"_XBD008772","price":3200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD008772.jpg?v=1688736191"},{"product_id":"a-bronze-statue-of-an-oba-in-the-benin-style","title":"A bronze statue of an Oba in the Benin style","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA bronze statue of an Oba in the Benin style, standing on a square base which is engraved with manifold symbols of power. Superimposed over an interlace pattern which runs around the four sides are several appliqués showing bent arms with the hands holding leaves. On the ground lie captured enemies with their hands tied behind their backs. To the left and right of the Oba's feet are spotted panthers. Four military officers or courtiers accompany the Oba at all four corners, the rear two of lower rank, indicated by their more diminutive stature. The Oba holds the insignia of power and is adorned with a pearl bonnet and numerous pearl necklaces, which illustrate his supreme position. The entire object is decorated in a horror vacui manner without a single gap and in an extremely varied manner, a rare bronze of outstanding quality.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLit.: Philip J. C. Dark, An introduction to Benin art and technology, Oxford 1973. Phillips, T. (ed), Africa. The Art of a Continent, 1999. Paula Girshick Ben-Amos, The art of Benin, 1995. Ekpo Eyo, Frank Willett, Kunstschätze aus Alt-Nigeria, Mainz 1983. Barbara Plankensteiner (Hg.), Benin. Könige und Rituale. Höfische Kunst aus Nigeria, Wien 2007. Ezra, Kate. Royal Art of Benin: The Perls Collection in the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1992. Plass, Margaret Barton, William B. Fagg, and Roy Sieber. Seven metals of Africa. Philadelphia: University Museum, 1959. Robbins, Warren M. African Art in American Collections. L'art africain dans les collections americaines. New York: F.A. Praeger, 1966. Indiana University Art Museum. Royal Benin. Bloomington, 1980. Kaplan Flora S. Dr., ed. Images of power: Art of the Royal Court of Benin. New York: Grey Art Gallery, New York University, 1981. Dark, Philip J.C. An Illustrated Catalogue of Benin Art. Boston: G. K. Hall \u0026amp; Co., 1982, no. Z2\/77. Herbert, Eugenia W. Red Gold: Copper Arts of Africa. South Hadley, MA: Mount Holyoke College Art Museum, 1984;\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003eFelix von Luschan: Die Altertümer von Benin, Band 1, pagee 310 ff, Band 3 Tafeln 79.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTL Analysis 340 years +\/- 26,5 %\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMore information on request.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 57 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 23 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":46917462622531,"sku":"_PTC0959(1)","price":24000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/PTC0959_1.jpg?v=1689085085"},{"product_id":"an-outstanding-terracotta-head-ori","title":"A terracotta head in the style of Ife","description":"\u003cp\u003eA fragmentary terra-cotta head in the style of Ife, which maybe represents an unknown young Oba. The work is characterized by the typical Ife style features: The corners of the upper eyelids hang over those of the lower ones. Around the lips is an accented edge. The portrait is of a relative youthful man. It is calm and dignified with the very full lips just a tiny little bit open. The nose is somewhat knobbly. It is particularly engaging - in quality and appearance, and with deep serenity. The art-historical importance of this piece lies in its distinctive sculptural style, in the tension between realism and abstraction. On one side it is naturalistic, portrait-like and on the other side it is classical and timeless. It is an idealized naturalism. The young man wears the typical crown of an Oba; inside you can see that the calotte of the small sculpture has been repaired with glue in recent times, this is not visible from the outside, further some smaller age cracks, a beautiful age patina.Incl. certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit.: Bronzes and Terra-Cottas from Ile-Ife, H. Meyerowitz and V. Meyerowitz, The Burlington Magazine for Connoisseurs. Arts de L'Afrique Noire, Jean Laude, translated by Jean Decock, University of California Press Berkeley, 1966, 1. Paperback-Edition 1973. 2000 ans d’histoire africaine. Le sol, la parole et l’écrit. Mélanges en hommage à Raymond Mauny. Tome I. Paris : Société française d'histoire d'outre-mer. Ife and Raymond Mauny, by Thurstan Shaw, 1981.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eHeight: 20 cm\u003cbr\u003eWeight: 1,2 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":46995122094403,"sku":"_XBD102618","price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD102618.jpg?v=1690722818"},{"product_id":"a-bronze-head-in-the-style-of-benin","title":"A Bronze head in the style of Benin","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Bronze head in the style of Benin, with ringed neck, delicately carved features, almond shape eyes wide open, coiffed with a panther, mouth wide open; remnants of blackened pigments\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cspan lang=\"en\" data-mce-fragment=\"1\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThis head, which cannot be classified in any of the categories listed by Digital Benin, neither among the so-called Ivbiotọ (decapitated heads of former Benin vassals) nor among the Uhunmwu-Elao (The commemorative head of an Ọba), is probably a high-ranking nobleman,\u003c\/em\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003especial power is expressed by a crocodile on the head.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eWe already had a similar head with a leopard on top, which due to its stylistic similarity could have been made by the same artist or workshop.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eAlthough the ears - as an important \"graph\" - are different.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe surface is not the same.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eIn one case there is a heavily encrusted oxidation patina and in the other case a patina that expresses a well-maintained condition and suggests that this head had its place on an altar.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eThis bronze also shows remains of a dark color, which is unusual when compared to other bronzes in museums.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eHowever, it should be borne in mind that most museum bronzes were \"restored\" in the 1960s and 1970s in a way that was more focused on their magnificent appearance than on a continous history of their surface.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eAt that time, an attempt was made to get close to the “original condition” at the time the bronzes were created.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eAnything that didn't fit into this mental image of the original state was removed.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAn argument often made by archaeologists, that the context of the find would be lost in the case of accidental finds or illegal excavations, was strangely completely ignored in many museum restorations of earlier decades.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eThe fact that even objects whose origin is unknown contain important information about their history through their surface properties has only recently been recognized by science.\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cspan lang=\"en\" data-mce-fragment=\"1\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eNowadays, “science” is hopefully more careful when it comes to dealing with “patina”.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ewj\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv aria-hidden=\"true\" data-location=\"2\" data-mce-fragment=\"1\" jsaction=\"agoMJf:gXkcrf;h5CHLc:RHer4,P6Fjxb;rpiAHc:GitQp,fNH7he\" jscontroller=\"ZbunN\" jsname=\"c3wAjc\"\u003e\n\u003cdiv data-mce-fragment=\"1\" jsname=\"jTaUub\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv aria-hidden=\"true\" data-location=\"2\" data-mce-fragment=\"1\" jsaction=\"agoMJf:gXkcrf;h5CHLc:RHer4,P6Fjxb;rpiAHc:GitQp,fNH7he\" jscontroller=\"ZbunN\" jsname=\"c3wAjc\"\u003e\n\u003cdiv data-mce-fragment=\"1\" jsname=\"jTaUub\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/DSC09686.jpg\" width=\"259\" height=\"356\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/DSC09686.jpg\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi440\/pages\/DSC09686.htm\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/jaenicke-njoya.com\/Bi440\/pages\/DSC09686.htm\"\u003eA Benin Bronze head\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/a\u003ewith a stylized panther on top, heavy encrusted and oxidised patina, extremly thinwalled, partly pierced through. Height: 24 cm\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003eHeight: 23 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 1,6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47674326942019,"sku":"_XBD118483","price":2400.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD118483.jpg?v=1704450471"},{"product_id":"an-unusual-bronze-head","title":"An  bronze head in the style of Benin","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan lang=\"en\" data-mce-fragment=\"1\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eAn unusual bronze head in the Benin style, thin-walled and also \u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi642\/pages\/_XBD118483.htm\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/jaenicke-njoya.com\/Bi642\/pages\/_XBD118483.htm\"\u003ewith an animal \u003c\/a\u003e- a fragmentary snail - on the hairstyle.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003e(cf. Benin.Head with a pather on top) The neck covered with a coral cuff.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eThe mouth wide open.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eThe almond-shaped eyes and the scarifications on the forehead were originally provided with iron inlays, remnants of which appear to still be present in the inlays on the forehead.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eCrack-shaped erosions on the left side of the head, missing iron inlays and smaller defects on the nose and mouth as well as on the right side and only a fragmentary snail on top do not detract from the expressive beauty of this rare, bronze head in the Benin style. TL Analysis is available on request.\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.head.panther.jpg\" width=\"308\" height=\"461\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.head.panther.jpg\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe form of the ears is probably the most important \"graph\" to identitfy similarties. of the same sculptor or its workshop.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHeight: 29 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 2,3 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47674357907779,"sku":"_XBD118497","price":2600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD118497.jpg?v=1704450850"},{"product_id":"an-ogboni-bronze-couple","title":"An Ogboni Bronze couple","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAn Ogboni Bronze couple, Nigeria, sitting on a stool, the female is holding a small infant, the male holding two small tools, both figures look alike and vary on their genitalia, their thick cylindric neck carries the rounded head, composed of expressive features, a thin mouth, small nose and big round eyes, topped with a conical shaped head dress, with two bands falling on each side, both bodies are covered in inscribed shapes; some damage on the base, signs of use.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 69 cm \/ 70,5 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 7,4 kg \/ 8,1 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47674472694083,"sku":"_XBD119100","price":1800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD119100.jpg?v=1704452065"},{"product_id":"a-fragmented-relief-plaque","title":"A fragmented relief plaque","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA fragmented relief plaque, Benin, in the style Benin bronze plaque in lost wax technique, with a floral background carved inwards after the plaque is made, four nail holes ar the four corners of the plaque, the main figure is in the middle sitting on a donkey, his attire suggest he is an important figure, two smaller figures accompany him and hid his hands forward, two bigger figures are fanning him with large leaves, all figures have weapons on them, on the top there are small floating male figures and a little one hidden on the bottom right; signs of damage and oxidation.\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\" tab_name=\"Internal Data (eng)\"\u003e\u003cem data-mce-fragment=\"1\"\u003eFollowing the British occupation of Benin City (Edo) in 1897 objects made of brass, ivory and wood were looted by British forces from the royal palace, its storerooms and compounds. Some of these objects were sold or exchanged on the coast. However, many were brought to the UK where they were sold through private auctions, donated to museums, or retained by soldiers of the expedition. The British Museum successfully petitioned the government to secure some of the relief plaques and over 300 were sent to the UK by the Consul-General [Sir] Ralph Moor and placed at the Foreign Office. During the summer of 1897 the Crown Agents for the Colonies, on behalf of the Foreign Office, agreed a temporary loan of 304 plaques to the British Museum. In September these were placed on public display in the Assyrian basement where they attracted considerable public attention. The Museum initially received 203 of these plaques as a gift from the Secretary of State for Foreign Affairs. In the summer of 1898, a further eleven plaques were sent to the British Museum from the Foreign Office and three of these were selected by the Museum and were subsequently presented as a gift. Of the remaining plaques the Foreign Office retained eight and the rest were offered for sale to major museums, collectors and private dealers in Europe and the UK. Today over nine hundred plaques are known to exist in museums and private collections around the world. See Collection File: Af1898,0115.1-203 (previously Eth.Doc.185).\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eMore information can be found on digital benin: https:\/\/digitalbenin.org\/catalogue\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 48 cm\u003cbr data-mce-fragment=\"1\"\u003eWidth: 39 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 10 Kg\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47765475787075,"sku":"_XBD119461","price":12.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD119461.jpg?v=1706009212"},{"product_id":"figure-of-an-oni-ife","title":"Figure of an Oni, in the style of Ife","description":"\u003cp\u003eA bronze sculpture of an Ooni (Oba), who shows the traditional signs of dignity that the king wore during the classical period: a crown, a heavy pearl necklace around the neck, another chain hanging from the neck to the knees and a net of fine strings of pearls with two knots in the middle covering the naked chest. In his left hand he's holding a sign of authority representing a ram's horn filled with magical substances called \"ashe\" and in his right hand a sceptre whose archetype is made of pearls and cloth, both symbols of his authority and power. He also wears wide bracelets around his wrists. He has got a small, gently bulging belly. His robe, over which his belly bulges has a sloping hem. The face is round and full and very even with an expression of calm serenity and quiet dignity. The head of this figure measures more than a quarter of the figures´ length, a proportion that is particularly characteristic of West African sculpture; oxidised bronze. TL Analysis on request.\u003cbr\u003e\u003cbr\u003eLit.: Frank Willett: Ife. Metropole afrikanischer Kunst, Bergisch Gladbach 1967, S. 32 ff, Tafel 6\/7, S. 37.; Wunmonije Compound, Ife, Museum für Ife-Altertümer, Ekpo Eyo, Frank Willett: Kunstschätze aus Alt-Nigeria, Mainz 1983, S. 104 William B. FAGG: Bildwerke aus Nigeria, München 1963, S. 38 Elsy Leuzinger: Die Kunst von Schwarz-Afrika, Recklinghausen 1972, S. 145, Schätze aus Alt Nigeria, Ministerium für Kultur der DDR, Bode Museum 1985, S.117. Enid Schildkrout in: Dynasty and Divinity. Ife Art in Ancient Nigeria. Museum for African Art, New York, 2009, 4. Dynasty and Divinity. Ife Art in Ancient Nigeria. Museum for African Art, New York, 2009, 12, 22, Abb. 3. Ekpo Eyo, Frank Willett, Kunstschätze aus Alt-Nigeria. Verlag Philipp von Zabern, 1983, 20f., Abb. 44, 45, 50. Gernot Feucht, Early Nigerian bronzes under Scientific Scrutiny. In: Ife, Akan und Benin. Westafrikanische Kunst aus 2000 Jahren. Arnoldsche Art Publications, 2000. 29ff. (Abb. 10, Statue of a dignitary, Ife\/Nigeria). Frank Willett, Ife. Metropole afrikanischer Kunst. LübbeVerlag, 2. Auflage 1975, 20, 32, 59ff. (Bronzes from Ita Yemoo), 67ff. (lost-wax-method), Taf. 6 (Bronze Oni, Ita Yemoo). Taf. 7 (Bronze Oni, Wunmonije Compound). Taf. III and 10 (Bronze couple from Ita Yemoo). About the political significance of bronze images of dignitaries: Suzanne Preston Blier, Art and risk in ancient Yoruba. Cambridge University Press, 2017, 247ff., 337ff.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eHeight: 58cm\u003cbr\u003eWeight: 9.5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47765607973187,"sku":"_XBD119745","price":4200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD119745.jpg?v=1708613196"},{"product_id":"a-bronze-plaque-in-the-style-of-benin","title":"A bronze plaque in the style of Benin","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA bronze plaque in the style of Benin\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003e, a \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003ewide, rectangular plaque with side flanges b\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eackground surface decorated with river leaf patterns and polka dots, and two\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003e nail holes at the bottom.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eShows a standing Oba facing forward, flanked by two high-ranking companions, who also face forward, one supports his left arm, the other holds an unidentified object in his hand,\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003ethe Oba wears a helmet-like beaded crown with spike-like appendages, a beaded collar partially covering the mouth, a sash over the chest and stomach, arm and ankles with beaded anklets, and a patterned wrap-around skirt with a passport mask on the right side of the belt.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eThe high-ranking companions dressed similarly: layered hairstyle, pearl necklaces, armbands and a wrap skirt tied over the right hip; \u003cspan lang=\"en\" data-mce-fragment=\"1\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003eThe upper and lower rims are fragmentary, some bridges due to corrosion, but in general of relatively good condition in relation to other Benin plaques.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.oba.with.cpmpanions.jpg\" width=\"254\" height=\"380\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.oba.with.cpmpanions.jpg\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eOba with high-ranking companions, former \"Königliche\u003cbr data-mce-fragment=\"1\"\u003eMuseum für Völkerkunde in Berlin, 1898\".\"\u003cspan data-mce-fragment=\"1\" tab_name=\"Internal Data (eng)\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFollowing the British occupation of Benin City (Edo) in 1897 objects made of brass, ivory and wood were looted by British forces from the royal palace, its storerooms and compounds. Some of these objects were sold or exchanged on the coast. However, many were brought to the UK where they were sold through private auctions, donated to museums, or retained by soldiers of the \u003cspan id=\"2\" role=\"button\" data-bs-toggle=\"popover\" data-bs-trigger=\"focus\" data-bs-title=\"\" data-bs-content=\"\" data-bs-html=\"true\" tabindex=\"0\" data-mce-fragment=\"1\" data-mce-tabindex=\"0\"\u003eexpedition\u003c\/span\u003e. The British Museum successfully petitioned the government to secure some of the relief plaques and over 300 were sent to the UK by the Consul-General [Sir] Ralph Moor and placed at the Foreign Office. During the summer of 1897 the Crown Agents for the Colonies, on behalf of the Foreign Office, agreed a temporary loan of 304 plaques to the British Museum. In September these were placed on public display in the Assyrian basement where they attracted considerable public attention. The Museum initially received 203 of these plaques as a gift from the Secretary of State for Foreign Affairs. In the summer of 1898, a further eleven plaques were sent to the British Museum from the Foreign Office and three of these were selected by the Museum and were subsequently presented as a gift. Of the remaining plaques the Foreign Office retained eight and the rest were offered for sale to major museums, collectors and private dealers in Europe and the UK. Today over nine hundred plaques are known to exist in museums and private collections around the world. See Collection File: Af1898,0115.1-203 (previously Eth.Doc.185).\u003c\/span\u003e\"\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem data-mce-fragment=\"1\"\u003eSource: Digital Benin.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDimension: 45,5 x 38 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 9.4 kg\u003cbr\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47765694415171,"sku":"_XBD100518","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD100518.jpg?v=1706015454"},{"product_id":"a-copy-of-a-bronze-head","title":"A bronze head","description":"\u003cp data-mce-fragment=\"1\"\u003eA bronze head in the style of Benin, depicting a young Oba, characterized by the typical Ife style features: The corners of the upper eyelids hang over those of the lower ones. Around the lips is an accentuated edge, here especially around the upper lip. There are grooves around the neck; the bronze is heavily encrusted with various layers of reddish brown patina, partly eroded, defects on the neck, several dents at the top of the head, four openings in the neck probably for nails, with which the head was originally attached to a wooden body.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eSimilar bronze heads like the one of the Wunmonije Compound type are quite often found, which raises the question of their use. It is assumed that they were attached to a life-size wooden figure, possibly with movable limbs. These figures were dressed in the same way as the person depicted would have been. Perhaps the Oba was thus able to attend ceremonies and burials without being personally present. When a new Oba came into power perhaps only the bronze head was replaced.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e„ … vier Öffnungen, die für Nägel bestimmt waren, mit denen man den Kopf wahrscheinlich ursprünglich an einem hölzernen Rumpf befestigt hatte.“ Frank Willet, Ife, pl. 3.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e„Die lebensgroßen Bronzeköpfe aus Ife mögen für denselben Zweck an ähnlichen Körpern befestigt gewesen sein.“ Frank Willet, Ife, pl. 2.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLit.: Frank Willet, Ife. Neue Entdeckungen der Archäologie, 2. Auflage 1975, Tafel 2 und 3. H. Meyerowitz and V. Meyerowitz, Bronzes and Terra-Cottas from Ile-Ife, The Burlington Magazine for Connoisseurs (Oct., 1939). Arts de L'Afrique Noire, Jean Laude, translated by Jean Decock, University of California Press Berkeley, 1966, 1. Paperback-Edition 1973.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/ife.marionette.jpg\" width=\"236\" height=\"310\" alt=\"Ife\" data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSource: Frank Willet, Ife, page 72.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cem\u003ePrice on request.\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 32 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 2,6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47794878251331,"sku":"_XBD100719","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD100719.jpg?v=1706448655"},{"product_id":"a-copy-of-the-crowned-head-of-lajuwa-ife-style","title":"A crowned head of Lajuwa in the Ife style","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA crowned head of Lajuwa, Ife style, who seized the throne of Ife after the death of Oni Aworo-kolokin. Encrusted oxidised patina of different layers, several small holes on the right temple and close to the ear, incl.certificate of origin and provenance.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn Nigeria's National Museum in Lagos we find a terra-cotta head which is called “Lajuwa” Head, found in the Ife Palace, Ile-Ife, 12th - 15th century. „ The head ... was said to have been kept in the king’s palace. It is called Lajuwa, who is remembered as the usurper who became king when Oni Aworokolokin died (Eyo and Willett 1980, p.103).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/www.jaenicke-njoya.com\/002.anhang\/the.art.of.ife.lagos.1955.jpg\" width=\"551\" height=\"440\" alt=\"Lajuwa, Art of Ife, National Museum Lagos, 1955\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/www.jaenicke-njoya.com\/002.anhang\/the.art.of.ife.lagos.1955.jpg\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eLajuwa, Art of Ife (last photo), National Museum Lagos, 1955, Probably its represents the same person.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDescription: The portrait is of a relative youthful man. It is calm and dignified with the mouth shut. It is particularly engaging - in quality and appearance, and with deep serenity. Art-historical importance of this piece lies in its highly developed and distinctive sculptural style, in the tension between realism and abstraction. On one side it is naturalistic, portraitlike and on the other side it's classical and timeless. It is an idealized naturalism.\u003cbr data-mce-fragment=\"1\"\u003eThe work is characterized by the typical Ife style features: The corners of the upper eyelids hang over those of the lower ones. Around the lips is an accented edge. There are grooves around the neck.\u003cbr data-mce-fragment=\"1\"\u003eCondition report: Our bronze is produced in the lost wax casting method. It has two holes in the neck, one left and one right, most likely to fix the head on a wooden post. The head wears the crown by an Ife Ono.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 38 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 3,43 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47801796002115,"sku":"XBD121477","price":3600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD121477.jpg?v=1706606033"},{"product_id":"a-benin-hunter","title":"A Benin hunter","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv align=\"left\" data-mce-fragment=\"1\"\u003eA Benin hunter, Nigeria, a figure, crafted through the lost-wax casting technique in bronze, this piece takes the shape of a bearded male figure, assumed to be a hunter. The figure is depicted kneeling on the right knee, adorned with an antelope draped around the shoulders. Positioned to the right side is a small dog with a quadrangular bell hanging from its neck. The hunter is equipped with a helmet and carries a quiver, a bow is held in the left hand of the hunter. Both figures are elevated on a square platform base featuring intricate openwork linear and circular decorations on all sides; it has suffered some damage.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMore details on the British Museum: britishmuseum.org\/collection\/object\/catalogue\/5_Af195211. 1. Last photos of the sequence\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/www.jaenicke-njoya.com\/002.anhang\/benin.hunter.british.museum.jpg\" width=\"290\" height=\"428\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/www.jaenicke-njoya.com\/002.anhang\/benin.hunter.british.museum.jpg\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA Benin-hunter from the 1897 punishment expedition\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/em\u003ehow a terrible \"restored\" Benin object is looking like:. It would called \"recent\", if we wouldn't know its provenance.\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eby Lt. Stuart Wilmot Nicholson (Later Adml. Nicholson, O.B.E. Probably 17th-18th cent. work from IGBIRRA or IGALA, IDAH region on Niger c. 90 miles N-E of Benin.\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eThe outstanding exemplare in the British Museum shows us, what happens,if Benin bronzes were \"restored\" by Museum\u003cbr data-mce-fragment=\"1\"\u003econservators.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eIn the 1960s and 1970s there was a tendency to remove any patina and return the objects to their supposed original state.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eEven if this largely no longer happens today, it still shows that the context of finds was largely destroyed by international Museums during the qoted period.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eThanks to Digital Benin: there are still copies that survived the “cleaning madness” unscathed and are still in its original state.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv dir=\"ltr\" data-mce-fragment=\"1\"\u003e\n\u003cdiv data-mce-fragment=\"1\" jsname=\"yiB9Md\" jscontroller=\"msAMEf\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv id=\"ow14085\" data-mce-fragment=\"1\" jsaction=\"focusin:s5kOj;FzgWvd:uRAjKb,mebvqd,WSLPRc;bITzcd:n1Ixlc,dBh71c;iFFCZc:oeyCVc;EDR5Je:TEj9Q;Rld2oe:KkQIMc,wz6Dg\" jsname=\"rYMao\" jscontroller=\"gNRIbd\" __is_owner=\"true\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv aria-hidden=\"true\" data-location=\"2\" data-mce-fragment=\"1\" jsaction=\"agoMJf:gXkcrf;h5CHLc:RHer4,P6Fjxb;rpiAHc:GitQp,fNH7he\" jscontroller=\"ZbunN\" jsname=\"c3wAjc\"\u003e\n\u003cdiv data-mce-fragment=\"1\" jsname=\"jTaUub\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" jsname=\"kDm4dd\"\u003e\n\u003cdiv data-mce-fragment=\"1\" jsaction=\"click:hcujVc,xAFyGb;JIbuQc:VIRg6(NakZHc),OXRwre(UsVyAb);QZDRD:aGeOie;DUcLEe:qaj0Me;jgj7wb:YEdRcb;O7QzJf:OzU88;bKt6Gd:zOtp9d\" jscontroller=\"JVNQkc\" jsname=\"DgLQX\"\u003e\n\u003cdiv data-show-delay-ms=\"250\" data-append-to-body=\"false\" data-propagate-tooltip-mouseover-events=\"true\" data-anchor-corner=\"bottom-end\" data-enable-skip-handler=\"false\" data-popup-corner=\"top-end\" data-mce-fragment=\"1\" jscontroller=\"HwavCb\" jsshadow=\"\" jsaction=\"mouseover:kptBG(Fs81Kd); mouseout:o9UdU(Fs81Kd),o9UdU(V6DMGe)\"\u003e\n\u003cdiv data-mce-fragment=\"1\" jsname=\"Fs81Kd\"\u003e\n\u003cspan data-mce-fragment=\"1\" jsslot=\"\"\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" jsname=\"kDm4dd\"\u003e\n\u003cdiv data-mce-fragment=\"1\" jsaction=\"click:hcujVc,xAFyGb;JIbuQc:VIRg6(NakZHc),OXRwre(UsVyAb);QZDRD:aGeOie;DUcLEe:qaj0Me;jgj7wb:YEdRcb;O7QzJf:OzU88;bKt6Gd:zOtp9d\" jscontroller=\"JVNQkc\" jsname=\"DgLQX\"\u003e\n\u003cdiv data-show-delay-ms=\"250\" data-append-to-body=\"false\" data-propagate-tooltip-mouseover-events=\"true\" data-anchor-corner=\"bottom-end\" data-enable-skip-handler=\"false\" data-popup-corner=\"top-end\" data-mce-fragment=\"1\" jscontroller=\"HwavCb\" jsshadow=\"\" jsaction=\"mouseover:kptBG(Fs81Kd); mouseout:o9UdU(Fs81Kd),o9UdU(V6DMGe)\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" jscontroller=\"ZR6Gve\" jslog=\"185183; metadata:W10=\" jsaction=\"rcuQ6b:lysa9c\"\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e​\u003cbr data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/www.jaenicke-njoya.com\/002.anhang\/benin.hunter.jpg\" width=\"299\" height=\"442\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/www.jaenicke-njoya.com\/002.anhang\/benin.hunter.jpg\"\u003e\n\u003c\/div\u003e\n\u003cbr data-mce-fragment=\"1\"\u003eA similar sculpture, probably from the same sculptor, was exhibited in the Benin-Bronze exhibition of Wolfgang-Jaenicke Gallery 1.8.- 15.10. 2018. The Commision of Museums and Monuments, Abuja, Nigeria, was informed about this exhibition\/bronze.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan lang=\"en\" data-mce-fragment=\"1\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eRepatriation claims were not made.\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cspan lang=\"en\" data-mce-fragment=\"1\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan data-mce-fragment=\"1\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" jsname=\"txFAF\" jscontroller=\"Gn4SMb\"\u003eThese claims expire three years after publication\u003c\/span\u003e\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp align=\"left\" data-mce-fragment=\"1\"\u003eHeight: 52 cm\u003cbr data-mce-fragment=\"1\"\u003eWidth: 20 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 12,6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47808116490563,"sku":"XBD123457","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD123457.jpg?v=1706714521"},{"product_id":"a-benin-bronze-rattle-staff-1","title":"A Benin bronze rattle-staff","description":"\u003cp align=\"left\"\u003eA Benin bronze rattle-staff in two parted segments, indicated by the similarity of the bronze staff Kate Ezra mentioned (photo).\u003cbr\u003eFelix von Luschan, die Altertümer Benins, Band 1, 47. Kapitel, Seite 446, Große Stäbe, \"Stammbäume\", Rasselstäbem baumähnliche Ständerr usw.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 166 cm incl. stand 174 cm\u003cbr\u003eWeight: 12,8 kg\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eThese staffs are from the Benin culture. \u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.rattle.staff.jpg\" width=\"172\" height=\"330\" alt=\"benin rattle staff\"\u003e\u003cbr\u003e\u003cbr\u003eThey represent authority that is passed down in families, villages, priests or successors in general.They would be used as parts of ancestral altars to commemorate current and past leaders.  These were carved from wood for everyone except the Oba’s who would have them casted from brass and sometimes from ivory. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/Ancestral_shrine_Royal_Palace,_Benin_City,_1891.jpg\" width=\"482\" height=\"357\" alt=\"benin bronze rattle staff altar\"\u003e\u003cbr\u003e\u003cbr\u003eUnknown photographer, in the background two bronze rattle staffs, Benin City May 189, source Smithsonian Institution, Washington DC\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cem\u003eOn the top of the staffs there would be a slit that would house a wood or clay cylindrical rattle.  This rattle was used to call attention to spirits so that they would come to their altar and make themselves present.  These staffs were lined up by the altar where they symbolized the community and the continuity from generations of being passed down.  On the Oba’s staff there are often figures or mudfish represented.  It’s also said that the spirits from past Oba’s are housed within the staff and continue to be passed on.\u003cbr\u003e\u003cbr\u003eKate Ezra, Royal Art of Benin, (New York: The Metropolitan Museum of Art, 1992), 91-96.\u003c\/em\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47808183533891,"sku":"WMJ02881","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/WMJ02881_cf292dbf-c22b-447e-b7d0-33f6d20d89b2.jpg?v=1706716161"},{"product_id":"a-benin-bronze-in-the-shape","title":"A Benin Bronze in the shape","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Benin Bronze in the shape of the face of an Oba, the neck and chin completely hidden under many layers of coral strings, which also lie around the forehead as a band and hang down from it next to six small feathers, a braided garland drapes around the lower face, on the head a a square cap representing a beaded cap, the full lips are just slightly open, the nose with wide nostrils springs from the domed forehead, the large fully rimmed eyes have iron inlays as pupils, star-shaped scarifications around the lower eyelids, the ears are shaped as a C-shaped bulge; a few tiny holes and a bit larger broken out area in the middle of the forehead, a beautiful encrusted patina, partly shiny, incl. stand.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLit.: Philip J. C. Dark, An introduction to Benin art and technology, Oxford 1973. Phillips, T. (ed), Africa. The Art of a Continent, 1999. Paula Girshick Ben-Amos, The art of Benin, 1995. Ekpo Eyo, Frank Willett, Kunstschätze aus Alt-Nigeria, Mainz 1983. Barbara Plankensteiner (Hg.), Benin. Könige und Rituale. Höfische Kunst aus Nigeria, Wien 2007.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 27 cm\u003cbr data-mce-fragment=\"1\"\u003eWeight: 1,9 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47808298320195,"sku":"BBC14068","price":2400.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/BBC14068.jpg?v=1706719103"},{"product_id":"a-benin-bronze-oil-lamp","title":"A Benin bronze oil lamp","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eA Benin bronze oil lamp consisting of a shallow bowl, which is decorated with two rows of precisely incised waves and animal heads on the underneath. Riveted to the bowl are thin ornate bands, to every second of which is an animal head attached. On a flat disc, where the ribbons meet at the top, stands a bronze figure about 19 cm high, depicting a Portuguese man wearing boots, trousers and a thin undergarment and above that a long buttoned and belted coat. His arms are slightly bent, in both hands he carries a rooster, on his head sits a wide-brimmed hat. The trousers, undergarments, coat and roosters are decorated with very fine different geometric patterns. Under the hat appears a three-parted coiffure. The precisely worked face has an astonished expression due to the large eyes and the full, slightly open mouth. The hanging moustache and the short wavy chin beard are also designed differently. On the head of the Portuguese is a chain mounted with a large hook at the other end, which was used to hang the lamp from the ceiling. But between the hook and the braided chain decorated with circles, there is another smaller figure. It is a male figure in a loincloth decorated with squares and dots, around his neck he wears a heavy necklace, his hands with the fingers stretched out, rest on his abdomen. His coffee-bean-shaped eyes protrude, the nose has wide wings and the lips are full, the helmet-like hairstyle is ornate with checks.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eThese oil lamps hung in the shrines of the palaces. The Oba of Benin has numerous shrines because he maintains unique relationships with the spiritual world. Thus, there are deities that are assigned to him alone and others that he attends to together with certain social groups. Such exclusive connections characterize the uniqueness of the Oba, which is also reflected in the materials used and the iconography of the artefacts. The precious bronze was reserved for the king and his court. This is the case for the commemorative heads as well as for other objects such as our oil lamp.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eLit.: Barbara Plankensteiner (Hg.), Benin. Könige und Rituale. Höfische Kunst aus Nigeria, 2007, 131-139, Abb. 4.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e1.000 - 1.200,- Euro\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eHeight: 62 cm \/ 103 cm with chain\u003cbr data-mce-fragment=\"1\"\u003eWeight: 3,3 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47808309428547,"sku":"DSC02461","price":2500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/DSC02461.jpg?v=1706719463"},{"product_id":"an-ikẹgobọ-altar-sculpture","title":"An Ikẹgobọ Altar sculpture","description":"\u003cdiv\u003e\n\u003cp\u003eAn Ikẹgobọ Altar sculpture, Nigeria, a copy in the style of Benin, which is related zu Eheua, the \"military commander\", who played a central role in defeating hostile forces and restoring order to the Benin kingdom.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eIt can be assumed that the piece in the MET museum once also had a similar lower part, which has been lost. In Benin art, the edges of objects are usually particularly decorated, or at least - as here with our base - marked by a clear finish. This is completely missing on the piece in the MET, which suggests that something is missing there. In any case, the proportions, including the separately manufactured \"base\", which is present here, appear more harmonious in view of the overall sculpture, which consists of three parts. The warlord and the warriors represent the power of the sovereign and the buffalo reliefs serve as a symbol of their animal strength. \u003cbr\u003e\u003cbr\u003eMore info on request \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan lang=\"en\" style=\"font-style: italic;\" jsname=\"jqKxS\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\"\u003e\u003cspan jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eWhether it is a copy of an earlier, lost specimen can only be assumed.\u003c\/span\u003e \u003cspan jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eIn any case, there could be an indication of how this Ikẹgobọ sculpture once looked in its three-part totality.\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-style: italic;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003cp\u003e.\u003cspan style=\"font-style: italic;\"\u003e.\" the hand or arm, is recognised to be the seat of power of accomplishing things. Its worship is specific to warriors as well as wealthy and high-ranking people. It is worshipped to ensure success for special undertakings and give thanks. The Ọba and some people of high rank still have special altars of the hand, called Ikẹgobọ, which take the form of sculptured cylindrical objects in wood, or occasionally bronze, depending on the status of the sponsor. \u003cbr\u003e\u003cbr\u003eIkẹgobọ are placed on ancestral altars. Typically, the Ọba, \u003ca role=\"button\" data-bs-target=\"#look-up-modal\" data-bs-toggle=\"modal\"\u003eIy’Ọba\u003c\/a\u003e and certain privileged chiefs may use cast forms, whereas chiefs use wooden ones (Dean, 1983). Altars of the hand are cylindrical, the outer sides decorated with relief carving. They are sometimes topped with sculptural elements, elephant tusks or antelope horns, and wooden altars are topped with a conical projection which mimics a tusk. Worship of the hand is important in Edo belief; the hand relates to an individual’s success with different skills, qualities or characteristics, such as craftsmanship, hunting or warcraft.\u003cbr\u003e\u003cbr\u003eChief Jacob Egharevba (1949, pp.88-89) worship of the ‘god of the hand’ emerged during the fifteenth century, during the reign of Ọba Ewaure I. What is less certain is whether altars of the hand also emerged at this time, or were a later development. Today, Ikẹgobọ continue to be used on altars by individuals who have high-ranking positions within the palace societies. \" Source: \u003ca href=\"https:\/\/digitalbenin.org\/eyo-oto\/4\"\u003eDigital Benin\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-style: italic;\"\u003e\"In the kingdom of Benin, ikegobo, or \"altars to the hand,\" celebrate the accomplishments of exceptional individuals. The hand is associated with action and productivity, and is considered the source of wealth, status, and success for all those who depend on manual skill and physical strength. Altars of this kind are commissioned in terracotta, wood, or brass, depending on the status of the patron.\u003cbr\u003e\u003cbr\u003e\"This ikegobo is an important historical document associated with the reign of Akenzua I. In the early eighteenth century, rebellious chiefs challenged Akenzua's leadership and threatened the unity and stability of the kingdom. Ehenua, Akenzua's ezomo or military commander, played a central role in defeating these forces and restoring order to the kingdom. In recognition of his heroism and service, Akenzua presented Ehenua with an ikegobo illustrating his military triumph.\u003cbr\u003e\u003cbr\u003eThe artist who created this work, composed of a series of units, used costume, scale, and composition to denote the relative status of the figures depicted on the frieze. A monumental image of Ehenua, dressed in full military regalia and clutching trophies of war, appears at the center of a group of diminutive soldiers, attendants, and priests. Two rows of musketeers above the frieze include Portuguese soldiers, an indication of the degree to which European powers were engaged in the support of Benin's leadership at this time. A separately cast sculptural group sitting in front of these soldiers portrays Oba Akenzua in the act of performing sacrifices to his ancestors so that Ehenua will prevail and triumph over his adversaries. Finally, a carved ivory tusk, now missing, was fitted onto the brass peg between the soldiers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan lang=\"en\" jsname=\"jqKxS\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\"\u003e\u003cspan jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003ethe three different parts of the Ikẹgobọ bronze\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e we collected\u003c\/p\u003e\n\u003cspan tab_name=\"Internal Data (ger)\"\u003eDie Individualisierungstendenzen in der Kunst Benins des 18. und 19. Jahrhunderts zeigen sich in der Entstehung eines neuen Altartyps, des Altars der Hand. Während Altäre mit den Gedenkköpfen der Verehrung der Ahnen und der von ihnen überkommenen Macht dienen, so steht die Verehrung der Hand an den neuen Altären für die individuellen Fähigkeiten und Leistungen des Menschen...\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan lang=\"en\" jsname=\"jqKxS\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\"\u003e\u003cspan jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eThe Berlin example of an Ikẹgobọ altar also shows an elaborate base on which the figures stand in three-dimensional relief.\u003c\/span\u003e\u003c\/span\u003e \u003cspan lang=\"en\" jsname=\"jqKxS\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\"\u003e\u003cspan jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eBy the way: A rarity, the Berlin Ikẹgobọ survived the cleaning attacks \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan lang=\"en\" jsname=\"jqKxS\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\"\u003e\u003cspan jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eof the 1960s and 1970s in Western Museums without damage and still shows the original patina with its laterit dust.\u003c\/span\u003e\u003c\/span\u003e \u003cspan lang=\"en\" jsname=\"jqKxS\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\"\u003e\u003cspan jscontroller=\"Gn4SMb\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\"\u003eNow that this object has been restituted to Nigeria, it is hoped that it will not meet the same fate in Africa as most Benin and Ife objects in Western museums: they have been scrubbed to a beautiful shine like gold.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47969557938499,"sku":"_XBD100686","price":24000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD100686.jpg?v=1709420323"},{"product_id":"a-hip-mask-in-the-style-of-benin","title":"A hip mask in the style of Benin","description":"\u003cp\u003eA Benin Bronze hip mask in shape of a panther, incl. metal stand. Provenance Arnd Klinge, Berlin, incl. metal stand.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv itemprop=\"description\"\u003e\n\u003cp\u003e\u003cem\u003e\"The king and other participants wear their most lavish ceremonial costumes, consisting of vast quantities of costly imported coral beads, luxurious textiles, and ornaments made of gleaming brass and creamy ivory. This ornament in the shape of a leopard's head was part of such a costume, and was meant to be worn around the waist.\" Source: MET NY\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eHeight: 15 cm\u003cbr\u003eWeight: 220 g\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan style=\"text-align: left;\"\u003e\u003cimg alt=\"\" height=\"453\" width=\"346\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/hip.masks.luschan.png\"\u003e\u003cbr\u003e\u003cem\u003eLuschan, Die Altertümer Benins, Band 2, Taf. 97 \u003cbr\u003e\u003cbr\u003eAn fast genau derselben Stelle, aber nicht mit ihnen zu verwechseln, finden sich auf über 20 Platten Panthermasken, die nichts mit einem Schwert oder Schwertscheide zu tun haben, sondern lediglich als Schuck des Gürtels oder zur Sicherung seines Verschlußes dienen. Wie dieser Verschluß im einzelnen bewerkstelligt wurde, ist an den Platten nirgend zuz sehen,..zwei schöne Originale solcher Masken aus Bronze und eines aus Elfenbein sind hier auf Taf. 97 c E unbd D abgebildet\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e.\u003c\/em\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":47974567346499,"sku":"WMJ02485","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/ABC07905.jpg?v=1709555220"},{"product_id":"a-queen-mother-bronze-head","title":"A Queen mother bronze head","description":"\u003cp\u003eA Queen mother bronze head, called\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eUhunmwu elao ọghe Iy’ọba, \u003c\/em\u003ein the style of Benin.\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003e\u003cem\u003eThree things are special about this Queen Mother figure:\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003e\u003cbr\u003e\u003cbr\u003e1. the almost vertical hood, which gives it royal dignity.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eOther depictions of this type of figure range from a curved beaded hood to a hood that resembles a relatively short pointed cap.\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003e2. The surface of this bronze.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eWe can assume that in the 1960s and 1970s most Benin bronzes were \"cleaned\" in museums and private collections.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eA \"restoration\" that consisted of getting as close as possible to an assumed original state and stopping corrosion of the metal.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eToday, old bronzes are treated much more sensitively because the surface patina can also provide important information about the context of the find, to briefly touch on this topic.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eBut what is crucial about this bronze is its \"unrestored condition\", which, when viewed through a line-scan, an electron microscope or even under multiple optical magnifications such as Photoshop, reveals a complex structure of the bronze's oxidation, which can be important for assigning its age.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e(see magnification at the end of this photo sequence)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003e3. And this brings me to the strangest feature of this Queen Mother Bronze.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eScarification scars on both sides of the forehead are common and vary between three and four vertical elevations.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eThe iron inlays, which were lost in this bronze but still show clear traces of oxidized iron traces, are also not unusual.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eWhat is unique, however, is the hanging, cone-shaped protuberance, which appears to be crowned with a \"pearl\" at the tip.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eIt is located in the middle of the two former iron inlays.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eWe only know something similar from the male Uhunmwu-Elao bronze heads or the Ewua priest figures, but from none of the Queen Mother figures depicted in DB.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eWe are sure that there are other examples outside the museum world with this special feature.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eW.J.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.head.luscha.altertuemer.png\" width=\"319\" height=\"364\" alt=\"\"\u003e\u003cem\u003e\u003cbr\u003e\u003cbr\u003eUhunmwu-Elao bronze head\u003c\/em\u003e,\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eLuschan, Die Altertümer Benins , Plate 53\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThis ancestor head was cast in memory of a deceased queen mother. She can be recognized by the typical conical braid hairstyle covered by a beaded cap. On the forehead, there are raised decorative scars, as well as a large pearl, which refers to the proverb: \"You can never touch the forehead of a leopard\". After 1550, these ancestor heads show less and less individual facial features but are more to be understood as an idealized portrait with status symbols and insignia of rulership. The mother of the reigning king represented an important counterweight to his power. She resided in her own palace, administered her own province, spoke up for petitioners, and could also grant political asylum. Text: Dietmar Neitzke.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThis type of commemorative queen mother head is normally placed at an altar to honour her, the ly’Oba. These cast iron heads are distinguished by their tall, cone hairstyle. Indicating a higher status, the head has four suborbital markings, which are usually reserved for men, instead of the usual three for women. It is thought that Oba Esigie (c. 1516 to 1550) introduced the title of ly’Oba to honour his mother, Queen Idia. The tradition of casting bronze heads of kings and queens for altars is considered to be the oldest kind of palace art in Benin and done by professional artisans. The depictions are not realistic but more as symbolic or metaphorical. The Queen Mother often sports a mesh hairdo, created by the “lost wax technique.“ First, the earthen block is covered with wax and shaped. Then, clay is put on top of it and heated. The wax leaks out and a metal alloy then poured in. Certificate of authenticity and provenance.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eF. Luschan, „Die Altertümer von Benin“, Veröffentlichungen aus dem Museum für Völkerkunde, Bd. ... de Gruyter, Berlin \u0026amp; Leipzig, 1919., Schlothauer, Andreas. 2012. Gefunden - Drei Beninköpfe ehemals Berlin. In: Kunst\u0026amp;Kontext 1\/2012: 77-80., U. Beisiegel, M. Reich, K. Pietzner, und V. Viebahn, „The collections, museums and gardens of Göttingen University“. Univ.-Verl. Göttingen, Göttingen, 2015,. Verfügbar unter:p. 26, 34.), „Benin, Könige und Rituale : höfische Kunst aus Nigeria ; eine Ausstellung des Museums für Völkerkunde Wien - Kunsthistorisches Museum .. ; Ausstellungsorte Museum für Wölkerkunde Wien, 9. Mai - 3. September 2007, Museé du Quai Branly, Paris, 2. Oktober 2007 - 6. Januar 2008; Ethnologisches Museum, Staatliche Museen zu Berlin, 7. Februar - 25. Mai 2008 ..“. Snoeck [u.a.], Antwerpen, 2007., „Kunst aus Benin - Sammlung Hans Meyer. Patrimonia ; 220“. Kulturstiftung der Länder [u.a.], Berlin, 2002. (S.23-25; 82)\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eHeight: 55 cm\u003cbr\u003eWeight: 4,8 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396284789059,"sku":"XBD135100","price":1600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135100.jpg?v=1715590844"},{"product_id":"iy-ọba-a-queen-mother-brass-head","title":"Iy’ọba, a Queen mother brass head","description":"\u003cp\u003eA\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eQueen mother brass head, Iy’ọba, in the style of Benin, from Nigeria. The head with a large cylindrical collar that covers the chin; with small round lips poking over it, the shot pointed nose and the bulging eyes with oxidized iron inlays give it its distinct expression, the brows are striated; the cone shaped hood pointed forward and adorned with a corals. Signs of oxidations, some damages on the left side, where the bronze is partially broken. Certificate of Origin and Provenance.  \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“In the Benin kingdom, the iyoba, or mother of the oba (king), occupies an important and historically significant place within Benin's political hierarchy. The title was first conferred upon Idia, the mother of king Esigie, who used her political skill to save her son's kingdom from dissolution in the late fifteenth century. Ever since that time, queen mothers have been considered powerful protectors of their sons and, by extension, the kingdom itself. Because of the enormous esteem in which they are held, iyobas enjoy privileges second only to the oba himself, such as a separate palace, a retinue of female attendants, and the right to commission cast brass sculptures for religious or personal use.” Source the Met Museum, NY\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eTL Analysis available on request\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003eHeight: 47 cm\u003cbr\u003eWeight: 6,9 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48396485198147,"sku":"XBD135663","price":3200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135663.jpg?v=1715593462"},{"product_id":"a-terracotta-head","title":"A terracotta head","description":"\u003cp\u003eA terracotta head in the style of Ife, Nigeria, of oval form on a wooden stand, with fine elaborated facial features, which give the impression of an introspective personality, scarification marks all over the facial plane, a bow like band on the head with a small domed coiffure, inside remnants of reddish laterite earth, in good condition.\u003c\/p\u003e\n\u003cp\u003eHeight: 24 cm\u003cbr\u003eWeigh: 1,8 kg\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48756456685891,"sku":"XBD140525","price":800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD140525.jpg?v=1718283434"},{"product_id":"an-uhunmwu-elao-commemorative-head-of-an-ọba","title":"An Uhunmwu-Elao commemorative head of an Ọba","description":"\u003cp\u003e An Uhunmwu-Elao commemorative head of an Ọba, in the style of Benin, casted in bronze, Nigeria, iron inlays as pupils, regalia of coral beads, a cap-like crown and a high collar of coral necklaces, different layers of encrusted oxidations. Certificate of origin and provenance.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe altar of these heads consists of a commemorative head that supported once the carved ivory tusk. It could have a circular base or a rectangular-shaped base. However, they all have a unifying feature, which is the hole at the centre in which the tusk is placed.\u003cbr\u003eAfter the death of an Oba, an altar was built for him in a closed courtyard of a Benin palace. One of the most important objects on these altars were memorial heads of the deceased cast from brass. Extensive rituals and regular sacrifices at this altar by the successor confirmed his ties to the royal ancestors and increased his spiritual power. See Digital Benin, the Uhunmwu-Elao commemorative heads\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFelix von Luschan, Die Altertümer von Benin, Band 1, Berlin 1919, S. 355-358. Philip J. C. Dark: An introduction to Benin art and technology, Oxford 1973, S. 95. William Fagg, Bildwerke aus Nigeria, München 1963, S. 44. Armand Duchateau Benin. Kunst einer Afrikanischen Königskultur, München 1995, S. 45-53.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eHeight: 25 cm\u003cbr\u003eWeight: 2,8 kg\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48756525039939,"sku":"XBD140554","price":2500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD140554.jpg?v=1718283938"},{"product_id":"a-fragmentary-terracotta-head-in-the-katsina-style","title":"A fragmentary terracotta head in the Katsina style","description":"\u003cp\u003eA fragmentary terracotta head in the Katsina style, Nigeria with a small face, long horizontal slits for eyes with eyebrow carvings over them, a small nose and narrow round mouth; the ears are carved high and the head has small protrusions for coiffure. Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003eHeight: 20 cm\u003cbr\u003eWeight: 3,4 kg (incl. stand)\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48756557087043,"sku":"XBD140541","price":1500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD140541.jpg?v=1718284249"},{"product_id":"an-uhunmwu-elao-commemorative-head","title":"An Uhunmwu-Elao commemorative head","description":"\u003cp\u003eAn Uhunmwu-Elao commemorative head of an Ọba, in the style of Benin, casted in bronze, iron inlays as pupils, regalia of coral beads, a cap-like crown and a high collar of coral necklaces. On the round base to the left and right of the head is a small leopard, symbolizing the power and dignity of the Oba. Different layers of encrusted oxidations. Certificate of origin and provenance. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,ogZjnb,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eAfter the death of an Oba, an altar was built for him in a closed courtyard of the Benin palace.\u003c\/span\u003e\u003c\/span\u003e \u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,ogZjnb,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eOne of the most important objects on these altars were memorial heads of the deceased cast from brass.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eA carved ivory tusk once rose from the calotte of these commemorative heads. \u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,ogZjnb,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eExtensive rituals and regular sacrifices at this altar by the successor confirmed his ties to the royal ancestors and increased his spiritual power.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e See Digital Benin, the Uhunmwu-Elao commemorative heads.\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eLit.: Felix von Luschan, Die Altertümer von Benin, Band 1, Berlin 1919, S. 355-358. Philip J. C. Dark: An introduction to Benin art and technology, Oxford 1973, S. 95.William Fagg, Bildwerke aus Nigeria, München 1963, S. 44. Armand Duchateau Benin. Kunst einer Afrikanischen Königskultur, München 1995, S. 45-53.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 47 cm\u003cbr\u003eWeight: 10,7 kg\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48756596703555,"sku":"XBD140483a","price":2600.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD140483a.jpg?v=1718284670"},{"product_id":"a-bronze-head-of-a-portuguese-in-the-style-of-benin","title":"A Bronze head of a Portuguese in the style of Benin","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA Bronze head of a Portuguese in the style of Benin, a large cylindrical neck, the face is composed of delicate features of a closed bulbous mouth, surrounded by a straight mustache and thin rectangular goatee, small pointed nose, two eyes, large, opened, with pupils showing, they both are looking downwards, the top of the head is adorned with a large three part hat, onto which are double wooden flange, which, according of Kathryn Wysocki Gunch, belong to the reign of Oba Orhogbua 1550 - 1578 and not of the reign of his father Oba Esigie 1504 - 1550; There is some damage done at the top of the headdress, of visible holes. Certificate of provenance.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eKathryn Wysocki Gunch , The Benin Plaques. A 16th Century Imperial Monument.\u003cbr\u003e\"I tryed to construct a timeline according the pattern of the flanges. An attempt which tryed already Philip Dark and Frank Willet with other arguments based on the\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\" jsaction=\"mouseup:Sxi9L,BR6jm; mousedown:qjlr0e\" jsname=\"jqKxS\"\u003e\u003cspan jsaction=\"agoMJf:PFBcW;MZfLnc:P7O7bd;nt4Alf:pvnm0e,pfE8Hb,PFBcW;B01qod:dJXsye;H1e5u:iXtTIf;lYIUJf:hij5Wb\" jsname=\"txFAF\" jscontroller=\"BiTO4b\"\u003e\u003cspan jsname=\"W297wb\" jsaction=\"click:E6Tfl,GFf3ac,qlVvte;contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:E6Tfl,c2aHje\"\u003eappearance of the plaques\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e.\"\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHeight: 33 cm\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eWeight: 2,6 kg\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48756646281539,"sku":"XBD136511","price":4000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD136511.jpg?v=1718285107"},{"product_id":"a-head-of-olokun-in-the-style-of-ife","title":"A head of Olokun in the style of Ife","description":"\u003cp\u003eA head of Olokun in the style of Ife, from Nigeria, life-sized and cast using a lost wax technique. A crown-like headdress with a circular crest, and a tubular band that runs across the head ornamented with small studs running horizontally on the top and the bottom of the band. The face with a delicate features: almond-shaped eyes, small nose and full lips, with refined overall patterns. The neck is ringed which is a sign of beauty across many Ife and Benin heads. The holes in the neck were used to attach it to a wooden marionette, as described and shown by Frank Willett, Ife, pages Signs of oxidation. Certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003e“\u003cspan\u003eAccording to the oral traditions of the Yoruba people, Ife is the place where life and civilisation began. Ife is regarded as the legendary homeland of the Yoruba-speaking peoples and its sacred ruler, the Ooni, is still revered as the descendant of the original creator gods. Ife is located in Osun State in modern southwestern Nigeria.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Ife began to develop as a city-state in the late first millennium, around AD 800 and became a leading political, economic and spiritual centre in the lower Niger region. Between 1100 and 1400 it flourished as a commercial centre with access to the lucrative trade networks along the Niger River.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe art of Ife has produced a large corpus of sculptural works in terracotta, stone, brass and copper which were found at different sites in the city. Among these artworks, the representations of humans are striking for their naturalistic style. This life-like modelling is unique in Africa and when objects from Ife were first presented to the western world they were compared with the classical traditions of Ancient Greece and Rome. It was even suggested that such heads were evidence that Ife was the site of the lost civilization of Atlantis. In fact the sculpture of Ife is today rightly seen as one of the highest achievements of African art and culture.” Source: British Museum\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit:\u003cbr\u003eE. Platte, 2010, Head of a Ruler, London, British Museum Company\u003cbr\u003eE. Eyo and F. Willett, 1980, Treasures of Ancient Nigeria, London, Royal Academy of Arts\u003cbr\u003eJ. W. Langton, O. Akin Ige \u0026amp; T. Rehren \"Early Primary Glass Production in Southern Nigeria\" in Journal of African Archaeology, Vol. 4 (1), 2006\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 33 cm\u003cbr\u003eWeight: 3,5 kg\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48760754536771,"sku":"XBD135330","price":5000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD135330.jpg?v=1718361728"},{"product_id":"a-copy-of-a-sculpture-in-the-benin-style-okpia","title":"A copy of a sculpture in the Benin style, Okpia","description":"\u003cp\u003eA copy of a sculpture in the Benin style,\u003cem\u003e Okpia\u003c\/em\u003e, lost wax cast in brass, depicting a soldier, holding a rifle and carrying a sword. He wears a helmet and armguard, he seems to be barefooted, standing on a square pedestal base decorated with interlace.\u003cbr\u003e\u003cem\u003e\u003cbr\u003e\"In the art of Benin, works in bronze can be commissioned only by the Oba, or ruler, or by others with his permission. According to oral traditions, the technique of lost-wax bronze casting was brought to Benin around the end of the fourteenth century from Ife, the ancient kingdom to the north noted for its exquisite cast-bronze commemorative heads. Prior to that time, Benin craftsmen produced hammered and incised, but not cast, bronze ornaments.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cimg alt=\"\" height=\"515\" width=\"355\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/portuguese.benin.warior.png\"\u003e\u003cbr\u003e\u003cbr\u003eA similar motive of a Portuguese warrior without plinth and cleaned, private collection, exhibited British Museum, at the end of the photosequence.\u003cbr\u003e\u003cbr\u003eOnce the technique of lost-wax casting was mastered by the craftsmen of Benin, bronze heads and figures began to appear on the Oba's shrines. This figure of a court musician playing a side-blown trumpet attests to the technical virtuosity of the Benin bronze casters. The figure's elaborately textured garment depicts the hide of a leopard, an animal associated with the power of the Oba. Similarly, the strands of coral around his neck and chest reaffirm this musician's status in the Benin court, since coral, like bronze and ivory, is a royal prerogative in Benin. \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eSource: The MET.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eHeight: 70 cm\u003cbr\u003eWidth: 47 cm\u003cbr\u003eWeight: 13,7 kg\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48760763121987,"sku":"_XBD110650","price":5000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD110650.jpg?v=1718361981"},{"product_id":"a-commemorative-ọba-head-uhunmwu-elao","title":"A commemorative Ọba head, Uhunmwu Elao","description":"\u003cp\u003e A commemorative head, Uhunmwu Elao, of an Ọba, in the style of Benin, used on the king’s ancestral shrine with an oval base and a hole and at the centre on top an opening, in which once the ivory tusk of an elephant was placed, oxidized iron inlays on the forehead and as pupils in the eyes. layered necklaces of royal coral beads. spike-shaped and tubular beads adorn both the netted cap and slender braids alongside his temples. While representing an individual, the facial features and calm expression are idealized. Remarkable and not mentioned on Digital Benin (DB) this Uhunmwu Elao is a Janus or double face head, which we saw the first time; partly greenish, encrusted oxidations and remnants of laterit.\u003cbr\u003e\u003cbr\u003eThe meaning of double-headed or Janus-shaped sculptures is interpreted in a similar way in most ethnic groups to this day. These depictions are considered to be particularly powerful because they allow one to see not only forwards but also backwards. Another interpretation says that Janus-headed masks, heads or sculptures give the person depicted the power to see not only into the past but also into the future. In relation to the power of a god-king such as the Oba of Benin, this unique depiction underlines the superhuman ability of the Benin king. wj.\u003c\/p\u003e\n\u003cp\u003eHeight: 33.5 cm\u003cbr\u003eWeight: 7.4 kg\u003cbr\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48780536021315,"sku":"XBD142987","price":2400.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/d5c31ece-878a-407c-a9ab-df096e05700b.jpg?v=1718619861"},{"product_id":"a-fragmentary-brass-plate-in-the-style-of-benin","title":"A fragmentary brass plate in the style of Benin","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA fragmentary brass plate in the style of Benin, depicting the Oba framed by two high ranking subordinates in kneeling position, two heads of Europeans in relief above the Oba, wearing long hair and a European military helmet, in the background water lilies ornaments, condition report: around the left portuguese is a crack, which can be total broken off very easily, it should have support from the backside in case of restoring.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThis is very similar to objects illustrated in plate 47 (illustrations 99 and 100) in An Introduction to Benin Art and Technology, by P. J. C. Dark, (1973)). Represents the Oba sitting on a throne in the form of a kola-nut box, holding a blacksmith's hammer and supported by two attendants. Two heads of Europeans in relief above the Oba. Dark suggests these plaques date to the first quarter of the 17th century, but Ben-Amos (see plate 20 in The Art of Benin, by Paula Ben-Amos (1980)) illustrates one in similar style that she states is possibly 16th century. [LMM, undated; JC 18 7 2002, 9 5 2008] Source: DB Accession Number object id 1907.66.1, Pitt Rivers Museum.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"be-lot-specification\"\u003eHeight: \u003cspan\u003e47 cm\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"be-lot-specification\"\u003e\n\u003cspan class=\"be-lot-specification__name u-typography-label-s u-typography-uppercase u-color-dark-gray\"\u003eDepth: \u003c\/span\u003e\u003cspan\u003e36 cm\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"be-lot-specification\"\u003eWeight: \u003cspan\u003e7.7 kg\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48780562399555,"sku":"XBD142445","price":2200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/67785c4f-c8f9-4455-b982-7b6459bcc33e_8c5a054d-1270-4006-bd4d-2be9e77bfb87.jpg?v=1718620733"},{"product_id":"a-brass-plate-probably-depicting-oba-esigie-in-the-style-of-benin","title":"A brass plate probably depicting Oba Esigie in the style of Benin","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA brass plate probably depicting Oba Esigie in the style of Benin, recognizable by the coral collar and the pearl net hood, in the right hand an Ahianmwẹ-Ọrọ and a rattle staff in his hand, In his left hand he holds a staff with which he touches the bird's head, symbolizing the divine power of the Oba, who controls the mythical wisdom of the bird. What is remarkable about this plate is the extremely pronounced three-dimensional relief, which gives the impression that the transition from a relief representation to a three-dimensional sculpture could happen at any moment. There are only a few plates that show a similarly prominent relief. The motif is also unusual and is not mentioned in the collections of DB.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe Ahianmwẹ-Ọrọ, meaning ‘bird of prophecy’ is a bird with a long beak, the cry of which is said to be prophetic. If it cries ‘OyaO’ (disgrace), it portends danger or disaster. If it cries ‘Oliguegue’ (be grateful), it portends good favour, fortune or luck. If it persistently cries ‘OyaO, OyaO’ in front of someone, it is prophesying that the person should be cautious and should not undergo a journey or should return home rather than continue on. But if the bird cries ‘Oliguegue’ continuously, the journey will be favourable. The bird is believed to be a messenger of the spirit world. Source DB about Ahianmwẹ-Ọrọ.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"be-lot-specifications u-m-t-sm-xl u-m-t-xxl-2\"\u003e\n\u003cdiv class=\"be-lot-specification\"\u003e\n\u003cspan class=\"be-lot-specification__name u-typography-label-s u-typography-uppercase u-color-dark-gray\"\u003eHeight: \u003c\/span\u003e\u003cspan\u003e48 cm\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"be-lot-specification\"\u003e\n\u003cspan class=\"be-lot-specification__name u-typography-label-s u-typography-uppercase u-color-dark-gray\"\u003eDepth: \u003c\/span\u003e\u003cspan\u003e33 cm\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"be-lot-specification\"\u003e\n\u003cspan class=\"be-lot-specification__name u-typography-label-s u-typography-uppercase u-color-dark-gray\"\u003eWeight: \u003c\/span\u003e\u003cspan\u003e12 kg\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48780733776195,"sku":"XBD142396","price":2400.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/d649afb9-b4a5-4bde-930b-4b91920a31f9.jpg?v=1718621805"},{"product_id":"two-esieku-figures","title":"Two Esieku Figures","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eTwo Esieku Figures, normally depicted as a couple, in the style of Benin. In Benin, physical deformities were traditionally associated with certain functions in the palace. Dwarfism fits the position of court jesters perfectly because it was considered amusing in itself, as it was in European courts.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThey are also referred to as Akaeronmwon, which indicates their function as collectors of news for the Oba. Despite their direct relationship with the Oba, they did not have the rank of nobles and were valued for their relationship with the underworld, witches and other spirit beings. Whether these bronzes stood on altars is uncertain and is a matter of conjecture.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe dwarves are in relatively good condition. Some holes, which are probably caused by corrosion, and a large dent on the back of the head of one of the dwarves are documented by corresponding photos; photo wj (last photo sequence).\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhat is particularly striking is the extremely naturalistic style of representation, which is particularly evident in their facial features. Felix von Luschan famously said that the Benin bronzes were in no way inferior to the work of Benvenuto Celli and were artistically on the same level. But when this bronze was cast, Cellini was not even alive. In the meantime, examples have emerged that are said to be almost 700 years old. This means that we are not in the sixteenth century (Cellini was born in 1500 and died in 1571) but in the last quarter of the fourteenth century. A portrait like this was created in Africa around 1370. Almost 200 years earlier. Luschan's enthusiasm would have been long before the time of Cellini, the immediate successor to Giotto, if Luschan had known about these sculptures, which are more likely to be attributed to the Ife style than the Benin style, and their great age. Nor was it a \"religious motif\", but rather we see the portrait of a bearded young man whose small stature would have given little cause for idealisation or religious exaltation. It is a realism that can hardly be surpassed in objectivity and was only expressed much later by Dürer or Leonardo. It all sounds a bit \"superlative\". But on closer inspection I cannot come to a different conclusion: this is a sculptural masterpiece, long before Cellini thought of casting the magnificent doors of the Baptistery in Florence.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHowever, when von Luschan described the \"Wiener Zwerge\", aaO. S. 299\/ 300.his interest was primarily in the medical analysis of the visible deformations, and the art-historical enthusiasm for the Benin bronzes, which Luschan himself had and which he shared with his Viennese colleague von Heger, took a back seat. This may be the reason why the extraordinary realism, unusual for Benin portraits, which we know in Europe as the Early Renaissance, did not come into his field of vision.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFelix von Luschan: Die Altertümer von Benin, Band 1, Berlin 1919, S. 299\/ 300.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePhilip J. C. Dark: An introduction to Benin art and technology, Oxford 1973, S. 97.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePaula Girshick Ben-Amos: The art of Benin, London 1995, S. 43.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBarbara Plankensteiner( Editor): Benin. Könige und Rituale. Höfische Kunst aus Nigeria, Wien 2007, S. 308 - 311.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHeight: 62 cm \/ 61 cm\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eWeight: 10 kg \/ 11,33 kg\u003c\/span\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48780813697347,"sku":"XBD142131","price":4800.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/dc573e97-143d-4e6f-b355-6f541de2538c.jpg?v=1718622440"},{"product_id":"a-bronze-sculpture-in-the-style-of-tada","title":"A Bronze sculpture in the style of Tada","description":"\u003cp\u003eA Bronze sculpture in the style of Tada with an extremely smoozh patina. The related famous exemplare was obviously deliberately destroyed, which is probably due to the influence of militant Islamism, which has now found its continuation in the reign of terror of Boko Haram and dominates this region. However, this reign of terror has now stopped destroying high-quality works of art and instead sold them to the art trade because they can fetch a considerable amount of money. Even though this sculpture was in a well-known collection in Togo for many years, it is likely that it is closely linked to the decline of animism and the aggressive advance of intolerant Islamism. The condition of the surface suggests that it was in ritual use - like mentioned above - for many years; provenance Heritage El Hadji Ibrahim Ousmane, Cotonou, who passed away 2022\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/el.hadji.ibrahim.ousmane.jpg\" width=\"250\" height=\"409\" alt=\"\"\u003e\u003cbr\u003eEl Hadji Ibrahim Ousmane, about 2020\u003cbr\u003e\u003cbr\u003eTom Phillips wrote in his book \"Africa, the Art of a Continent\" page 407, about the well-known version of this famous sculpture, which is obviously Ife related.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"This is without doubt the supreme masterpiece of the Ife smiths´art. Its proportions are naturalistic, whereas normally a quarter or more of the height of the figure. The limbs and usually the torso are generally no more than cylinders, but here, the legs and remaining parts of the arms are very Ifelike. The figure wears a wrapper that is overlain with a net of beads. On the left hip, a sash is tied around a folded cloth, perhaps the concerns of the wrappers. (There is a similar hip ornament in terracotta form a life-size figure from the Iwinrin Grove). Originally the right foot may have projected below the level of the base, which prompted William Fagg to suggest that it might have been intended to sit on a round stone throne (as cat. 5.66)...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eUntil recently this piece was kept in a shrine in the Nupe village of Tada on the river Niger 192 km north of Ife, where the villagers took it down the river every Friday and scrubbed it with river gravel to ensure the fertility of their wives and of the fish on which they live.. This accounts for its smoothed appearance, Bernard Faggpersuaded the villagers that they were destroying the sculpture and with it the fertility they were trying to promote...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIt is not clear why this piece and several others were found so far north. It may well be that its location indicates the ancient northern frontier of the kingdom of Ife. FW, Bibliography: Willet, 1967, pl 8\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003es.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTom Phillips, Africa Art, the Art of a Continent, page 407\u003cbr\u003eYoutube video clip: Ife Tada Benin Djenne Adamaua Terracotta and Bronzes Wolfgang Jaenicke Gallery Berlin.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eHeight: 57 cm\u003cbr\u003eWeight: 27 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48780916588867,"sku":"XBD141697","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/5a351348-3c00-4b3c-8f2e-e5480e7c23b7.jpg?v=1718623314"},{"product_id":"a-female-bronze-sculpture-in-the-style-of-benin","title":"A female Bronze sculpture, in the style of Benin","description":"\u003cdiv class=\"lot-info-description__description\"\u003e\n\u003cp\u003eA female Bronze sculpture, in the style of Benin, Nigeria, standing on a square plinth that is decorated with a bow and arrow, long flat feet, ankle bracelets, short legs, a necklace around the waist, a cylindrical body, a braided necklace around the neck crossing between her breasts, short arms rising towards the sky, the hands are upwards, open, she has a large rounded head composed of serene features, a closed mouth, pointed nose and two large eyes, her hair is short and composed of small lines and dots. This sculpture could be of the goddess Irhevbu or of Princess Edeleyo.\u003cbr\u003e\u003cbr\u003e“Princess Edeleyo was the eldest daughter of Oba Ewuare and eldest sister to Prince Oduwa who later became Oba Olua. Edeleyo was the most famous Princess in Benin kingdom: she was very wealthy and popular among the people. The decision taken by the Uzama Nobles in 1473 A.D to crown her as Oba was unusual. This was because no woman had ever been chosen for the crown of the Benin kingdom. She became the first woman to be chosen for the position of Oba in Benin history. Although some historians have claimed that women had ruled as Ogiso during the first period of Benin Kingdom, it has already been stated that this assertion was a mistaken identity. Edeleyo was the closest woman to the throne of ancient Benin; she was the first and last woman to be made Ediaken (heir apparent) and was also prepared for coronation. However, this plan or arrangement was truncated by the nature of a woman” Source: Benin Kingdom, the unusual choice of Princess Edeleyo, 2020\u003cbr\u003e\u003cbr\u003e\"A number of large standing figures are known from Benin, representing the Oba, attendants and European soldiers. Female figures of brass are comparatively scarce. That from Berlin (cat. 5.60h) immediately challenges notions of a classical Benin men corpus. A closely similar one (in the Lagos collection) has a stand in a form normal in Benin works dated to the late 17th century. In common with many of the plaques, the arms are cast solid, without clay core. The neck-lace, crossed baldric, facial and body scarification are features all well known from classic Benin works but hows the style here is greatly at variance with these. The bulbous eyes and tubular legs, the extraordinary modelling of the hair and the square feet all recall a vast and heterogeneous corpus of southern Nigerian bronze castings that have not been assigned to any particular centre and are reduced to a spurious order by calling them the Lower Niger Bronze Industry. Attempts to identify the casting with figures of Benin myth and history remain speculative. Meanwhile, \"Benin' continues to spawn an in- increasingly numerous and dubious okun. progeny Owo, Ijebu etc. derived from vassal cities of the Benin empire as a means of explaining its substyles in terms of outside evidence.\" Source Tom Phillips, Africa, the art of the continent, p.399.\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"lot-info-description__seller-profile\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"be-lot-specifications u-m-t-sm-xl u-m-t-xxl-2\"\u003e\n\u003cdiv class=\"be-lot-specification\"\u003eHeight: \u003cspan\u003e65 cm\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"be-lot-specification\"\u003e\n\u003cspan class=\"be-lot-specification__name u-typography-label-s u-typography-uppercase u-color-dark-gray\"\u003eWeight: \u003c\/span\u003e\u003cspan\u003e11.1 kg\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c!----\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":48780983828803,"sku":"XBD141228","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/8d722265-067d-4685-b1e2-fdf4529618eb.jpg?v=1718624007"},{"product_id":"a-brass-rooster-in-the-style-of-benin","title":"A brass rooster in the style of Benin","description":"\u003cp\u003eA high-quality brass rooster in the style of Benin,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eỌkpa being a shortened version of Ọkporhu,.\u003c\/em\u003eprovenance, El Hadji Abdoulaye Ousmane, called \"Abdou Barré,\" Lomé Togo, Wolfgang Jaenicke, Germany, Berlin, Private collection, posted on a wooden stand,\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBronze cock which did not come into existence until after the introduction of the Iy’ọba title by Ọba Esigie. The first Iy’Ọba was Idia, and the Iy’ọba title is considered to be the greatest achievement of a Benin woman. It has spiritual significance and is placed at the altar of the Iy’ọba after her death. The Iy’ọba is referred to Ọkpa n’ Uselu. Source Digital Benin.\u003c\/em\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cem\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.cock.digital.benin.jpg\" width=\"287\" height=\"432\" alt=\"\"\u003e\u003cbr\u003e\u003cbr\u003ePhoto: Digital Benin,\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eEthnological Museum, State Museums of Berlin, Provenance British Colonial Military Campaign on Benin, February 1897 Webster (born Cutter), Eva Amarantha\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eNote: Returned from Leipzig;\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eEdition: 17th-19th century, commissioned by the Igun Eronmwon or the Guild of Brass Founders in the Kingdom of Benin;\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eownership before 1897 currently unknown;\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eprobably plundered in connection with the British conquest of Benin in 1897;\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003earound 1898 in the possession of the ethnographic dealer Eva Cutter, who married the dealer William D. Webster;\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003esold to the Royal Museum of Ethnology in Berlin, 1898.\u003c\/span\u003e\u003c\/span\u003e, Source Digital Benin.\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e\u003cem\u003eThe Benin brass cock, also known as the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBenin bronze cock\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eor\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBenin bronze cockerel\u003c\/strong\u003e, is one of the most iconic examples of African art, and it is part of the renowned Benin Bronzes. These works of art are a group of plaques, sculptures, and other artistic objects created by the Kingdom of Benin (located in present-day southern Nigeria) between the 13th and 19th centuries.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Kingdom of Benin, once one of the most advanced and powerful states in West Africa, is famous for its sophisticated art, which included bronzes, ivory carvings, and other fine works. The Benin artists were particularly skilled in casting with brass and bronze using the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003elost-wax technique\u003c\/strong\u003e, a method that involves making a model out of wax, coating it with clay to form a mould, then melting the wax and pouring molten metal into the mould.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThese works were commissioned by the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBenin monarchy\u003c\/strong\u003e, particularly under the leadership of the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eOba (king)\u003c\/strong\u003e, and served as symbols of power, prestige, and divine authority. The art often depicted scenes of court life, historical events, and animals.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe brass cock, which appears in the Benin bronzes, holds significant cultural and symbolic meaning. Cocks (roosters) were often associated with royal regalia and ceremonial life, and in many African cultures, the rooster is a symbol of courage, strength, and vigilance. It was sometimes linked to the divine and served as an emblem of the Oba's authority.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA brass cock, in particular, was often included in\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eritual contexts\u003c\/strong\u003e. It was believed to be connected to the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003espiritual power\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eof the Oba, symbolizing the king's connection to the gods and his ability to ward off evil. In some depictions, the cockerel would be represented as part of the ceremonial regalia or even as a figure that could serve as an offering to the gods.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Benin Bronzes, a collection of over 900 objects, include plaques, statues, and cockerels. The depiction of animals like the cock in Benin artwork reflected the kingdom's deep engagement with the natural world, as well as its emphasis on fertility, vitality, and strength. Brass cocks were often found in the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBenin Royal Palace\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eand were part of the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eOba’s court regalia\u003c\/strong\u003e.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 48 cm incl. stand\u003cbr\u003eLength: 31 cm\u003cbr\u003eWeight: 6,6 kg\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi749\/pages\/XBD179173.htm\"\u003ejaenicke-njoya\u003c\/a\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52089608372547,"sku":"XBD179173","price":10.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179173.jpg?v=1736093791"},{"product_id":"an-extremly-rare-rooster-brass-plate","title":"An extremly rare rooster Brass plate","description":"\u003cp\u003eAn extremly rare Brass plate, in the style of Benin,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAma\u003c\/em\u003e, Nigeria, in shape of a rooster,\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003ethis seems to be the only depiction of a rooster that has been depicted on a Benin plate.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eOn Digital Benin we find many animal depictions, such as ram, leopard, snake, catfish, crocodile etc, but roosters are usually depicted as a full plastic figure.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThis is the first time we have collected this form of depiction of a specific animal.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThe almost square format is also unusual.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eIn the lower area there is an authentic repair, probably immediately after casting, at least it is not a modern weld.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA brass plate in the style of Benin refers to a type of metalwork that closely mimics or is inspired by the renowned Benin Bronzes from the Kingdom of Benin, located in what is now southern Nigeria. These brass plates, typically created as part of a broader tradition of metalwork in Benin, showcase the exceptional skill and artistry of Benin's royal artisans and have great cultural and historical significance.\u003cbr\u003eKey Features of Benin Brass Plates:\u003cbr\u003e1. Materials:\u003cbr\u003e* The plates are typically made from brass or bronze—both metals were highly valued in the Kingdom of Benin.\u003cbr\u003e* The metal was traditionally cast using the lost-wax casting technique (also known as cire perdue), where a wax model of the object is created, then covered in clay. Once the clay hardens, the wax is melted away, and molten metal is poured into the mold to form the object.\u003cbr\u003e2. Design and Iconography:\u003cbr\u003e* Benin brass plates often depict scenes of royal life, court rituals, and history, including depictions of the king (the Oba), the royal family, warriors, and various aspects of courtly life.\u003cbr\u003e* Figures and symbols of power, such as elephants, leopards, and other animals, may be featured, as these animals had significant symbolism within the kingdom.\u003cbr\u003e* Intricate reliefs are common, with figures and motifs depicted in raised forms that are either surrounded by geometric patterns or decorative borders. The relief work is often highly detailed, showcasing great craftsmanship.\u003cbr\u003e* The plates can also feature narrative scenes, such as the tribute-paying process or royal ceremonies, including the Oba receiving tribute from his subjects or leading his army into battle.\u003cbr\u003e3. Symbolism:\u003cbr\u003e* Many designs are symbolic, representing the strength and authority of the Oba (king), the divine connection of the monarch, and the power of the Benin court.\u003cbr\u003e* Geometric patterns and symbols, such as zigzags, interlocking circles, or cross-hatching, may be used to represent spiritual concepts or denote royal authority.\u003cbr\u003e* The elephant is often a symbol of wisdom, strength, and royalty, as elephants were associated with the power of the Benin kingdom.\u003cbr\u003e4. Function and Use:\u003cbr\u003e* Benin brass plates were often used for ceremonial purposes, such as displaying royal power, recording history, or paying tribute to the Oba.\u003cbr\u003e* They were also mounted on the walls of the royal palace or temple, where they would adorn the altar to the ancestors or be part of the royal regalia.\u003cbr\u003e* In some cases, the brass plates would be part of a larger set of objects, including plaques, altarpieces, and benches used in royal court rituals and ceremonies.\u003cbr\u003e5. Historical Context and Significance:\u003cbr\u003e* The Kingdom of Benin, which flourished from the 13th century until its British invasion in 1897, was known for its highly developed artistic traditions, particularly in metalworking, ivory carving, and wood sculpture.\u003cbr\u003e* The Benin Bronzes, including brass plates, were produced mainly under the reign of the Benin Obas (kings), particularly during the 16th and 17th centuries. These pieces were not only artistic masterpieces but also served as historical records of royal achievements and the kingdom’s grandeur.\u003cbr\u003e* After the British invasion and the looting of Benin in 1897, many of the bronzes and brass plates were taken to Europe, where they became highly prized by collectors and museums. The looting has been a subject of controversy, with ongoing debates about the repatriation of these pieces to Nigeria.\u003cbr\u003e6. Benin Art Influence:\u003cbr\u003e* The style of Benin art, including the brass plates, had a significant influence on global art, especially during the colonial and post-colonial periods. The intricate craftsmanship and symbolism of these pieces have made them a symbol of the cultural and artistic richness of African civilizations.\u003cbr\u003e* The aesthetic and narrative power of Benin’s brassworks has inspired artists, historians, and collectors around the world, and many of these works are now housed in museums such as the British Museum, the Ethnological Museum in Berlin, and the National Museum of Nigeria.\u003cbr\u003eDistinctive Style of Benin Brass Plates:\u003cbr\u003e* Benin brass plates are marked by their highly detailed and refined designs, often with a flat, circular shape or sometimes rectangular, though they may also have more abstract forms. The designs typically consist of raised reliefs of human figures and animals.\u003cbr\u003e* Faces and figures in these artworks are often represented in profile, with a specific emphasis on the Oba’s regalia and military or cultural scenes that highlight the kingdom’s wealth, power, and status.\u003cbr\u003eConclusion:\u003cbr\u003eA brass plate in the style of Benin represents more than just an artistic object; it is a piece of history, culture, and royal symbolism. Whether used in royal courts or in rituals, these brass works are a testament to the sophisticated and complex artistry of the Benin Kingdom. They remain some of Africa's most renowned artistic legacies, continuing to captivate viewers with their beauty, craftsmanship, and deep cultural meanings.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eDimension: 49 x 50 cm\u003cbr\u003eWeight: 6,5 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52090040549699,"sku":"XBD179467","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179467.jpg?v=1736095935"},{"product_id":"a-fragmentary-bronze-sculpture-in-the-style-of-tada","title":"A fragmentary Bronze sculpture in the style of Tada","description":"\u003cp\u003eA fragmentary Bronze sculpture in the style of Tada with an extremely smooth patina. The related famous exemplare was obviously deliberately destroyed, which is probably due to the influence of militant Islamism, which has now found its continuation in the reign of terror of Boko Haram and dominates this region. However, this reign of terror has now stopped destroying high-quality works of art and instead sold them to the art trade because they can fetch a considerable amount of money. Even though this sculpture was in a well-known collection in Togo for many years, it is likely that it is closely linked to the decline of animism and the aggressive advance of an intolerant Islamism. The condition of the surface suggests that it was in the ritual use - like mentioned above - for many years., provenance Aboulaye Ousmane, called Abdou Barré, Lomé Togo, it was since a long time in his collection.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" height=\"374\" width=\"249\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/fragmentary%20tsoede%20bronze.jpg\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAnother fragmentary Tsoede bronze, we collected a couple of years ago.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eTom Phillips wrote in his book \"Africa, the Art of a Continent\" page 407, about the well-known version of this famous sculpture, which is obviously Ife related.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"This is without doubt the supreme masterpiece of the Ife smiths´art. Its proportions are naturalistic, whereas normally the head quarter or more of the height of the figure. The limbs and usually the torso are generally no more than cylinders, but here legs and remaining parts of the arms are very Ifelike. The figure wears a wrapper that is overlain with a net of beads. On the left hip a sash is tied around a folded cloth, perhaps the concerns of the wrappers. (There is a similar hip ornament in terracotta form a life-size figure from the Iwinrin Grove). Originally the right foot may have projected below the level of the base, which prompted William Fagg to suggest that it might have been intended to sit on a round stone throne (as cat. 5.66)...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eUntil recently this piece was kept in a shrine in the Nupe village of Tada on the river Niger 192 km north of Ife, where the villagers took it down to the river every Friday and scrubbed it with river gravel to ensure the fertility of their wives and of the fish on which they live.. This accounts for its smoothed appearance, Bernard Faggpersuaded the villagers that they were destroying the sculpture and with it the fertiliy they were trying to promote...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIt is not clear why this piece and several others were found so far north. It may well be that its location indicates the ancient northern frontier of the kingdom of Ife. FW, Bibliography: Willet, 1967, pl 8\u003cbr\u003e\u003cbr\u003es. Tom Phillips, Africa Art, the Art of a Continent, page 407\u003cbr\u003eYoutube video clip: Ife Tada Benin Djenne Adamaua Terracotta and Bronzes Wolfgang Jaenicke Gallery Berlin\u003c\/em\u003e\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003cem\u003eA group of nine bronze sculptures had for a long time been known to exist in two villages on the River Niger, at Tada and on Jebba Island. The bronzes are referred to as the Tsoede bronzes because oral tradition says that the founder of the Nupe Kingdom, King Tsoede, who escaped from Idah in a bronze canoe, distributed these bronzes on his way to founding the present Nupe Kingdom which is believed to date from the sixteenth century.\u003cbr\u003eThe bronzes are divided into four groups. The first consists of the so-called Gara figures, two on Jebba Island, a male and a female, and one in Tada.\u003cbr\u003eThe second group consists of only the seated figure shown here, perhaps the most important naturalistic sculpture in Black Africa. Two other more recent-looking figures make up the third group, while the figures of two ostriches and an elephant form the fourth group. The male Jebba Gara figure better known as the Jebba Bowman and the Tada Gara male figure are believed to bear resemblance to Benin works because of the diadems on their foreheads which depict faces with snakes issuing from their nostrils, a common feature in Benin works. The Tada seated figure seems, in its naturalism and rigidity, to belong to the Ife school. The two more recent-looking figures from Tada have a combination of Yoruba and Benin traits while the ostriches and the elephant belong to a yet unidentified school. So, here we find at least four traditions of sculpture in bronze and their coming together suggests that they were accidentally assembled.\u003cbr\u003eAll the figures were still being used in rituals, in secondary contexts, in the places where they were located until they were temporarily taken into safety in the National Museum in Lagos. Source: Nigerianhouse\u003c\/em\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eWe know only two examples, one in an American private collection and one in Europe, which don´t have signs of violance like the well-known, in many books published fragmentary exemplare.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" height=\"426\" width=\"297\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/tsoede.complete.sculpture.jpg\"\u003e\u003cbr\u003eIf the National Commission of Museums and Monuments in Abuja, Nigeria, is interested in this rare exemplare, we can speak about donation.\u003c\/p\u003e\n\u003cdiv dir=\"ltr\"\u003e\n\u003cspan lang=\"en\"\u003e\u003cspan\u003eIt is important that such high-value works of art are protected from further destruction and not left at the mercy of Islamist terrorists.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eSuch objects do not belong on the black market, but this dilemma should be discussed openly with all those who are committed to protecting cultural heritage.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003eThis object was not stolen and is coming from the old private collection of the Heritage of El Hadji Ibrahim Abdoulaye, Cotonou, Benin, who passed away in 2022.\n\u003cdiv id=\"ow143\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-location=\"2\" aria-hidden=\"true\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"ow21\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003eThe Tsoede (also called Tada-bronzes) are linked to the Benin Kingdom, one of the great African kingdoms, known for its advanced urban planning, political structure, and art. The bronzes were likely produced by the skilled metalworkers who inhabited the area and are now considered a key part of the rich artistic heritage of the Benin Empire. The works also hold substantial historical value, as they often served as ceremonial and symbolic purposes.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eCharacteristics.The bronzes are renowned for their high level of craftsmanship and intricate detail. They are typically made using the lost-wax casting technique, which was a sophisticated method in which a wax model of the object is covered in clay and then heated to allow the wax to melt and drain, leaving a hollow mold for molten bronze to be poured into. This technique allowed for the creation of highly detailed and intricate sculptures.\u003cbr\u003eMany of the Tsoede bronzes depict human figures, animal motifs, or abstract symbols, and they were often used in royal or religious contexts, either as offerings or as part of the royal regalia. Some of the common themes include:\u003cbr\u003e1. Portraits of Royalty – These bronzes often feature depictions of kings or nobles, sometimes in elaborate attire or with symbolic regalia.\u003cbr\u003e2. Animal Motifs – Animals, especially elephants and leopards, were common subjects, reflecting their importance in the kingdom's symbolism and governance.\u003cbr\u003e3. Symbolism – The bronzes also depict symbolic elements tied to the spiritual and political life of the kingdom.\u003cbr\u003eSignificance\u003cbr\u003eThe Tsoede bronzes are considered one of the earliest examples of advanced metalwork in West Africa, and they stand as a testament to the region's long history of metallurgy, craftsmanship, and artistic expression. They are also part of the Benin Bronzes, a collection of plaques and sculptures that are historically important, though the term \"Benin Bronzes\" is often used more broadly to refer to the numerous works produced in Benin during the 13th to 19th centuries.\u003cbr\u003eThese bronzes are not only valuable for their artistic merit but also for what they tell us about the social and political organization of the Benin Kingdom, its religious practices, and its interactions with other cultures.\u003cbr\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eA few years ago we collected probably \u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi419\/pages\/DSC02358.htm\"\u003ea recent figurin\u003c\/a\u003e\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi750\/pages\/XBD179657.htm#\"\u003ee\u003c\/a\u003e with an artificial patina in the same sitting position, which to this day has attracted a great deal of attention on the internet.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eOne foot touched the ground and the other was parallel to it.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eIn this case arms and legs were intact and the figure held a snake in its hands.\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cimg alt=\"\" height=\"298\" width=\"244\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/tada.seated.bronze.recent.png\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eIs it conceivable that the damage to the figure right presented here was intentional?\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThe deformations of the arm swamps show more than mere erosion.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThey show - at least on the arms - clear signs of violence.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eSnakes have been a symbol of power and domination for centuries, especially in traditional Africa.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eIf a character is deprived of this symbol, it loses its magic power.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eCouldn't the missing left foot be interpreted in a similar way, in that the figure has lost its contact with the earth by breaking off the foot?\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThis could perhaps be interpreted as another sign of de-ritualization.\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cimg alt=\"\" height=\"356\" width=\"243\" src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/ife.tada.sculpture.well.known.png\"\u003e\u003cbr\u003eThis well-known Tada sculpture was described as:\u003cbr\u003e\u003cspan\u003e\"The style and the extraordinarily thin casting of this naturalistic figure point to its likely creation at Ife..\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight:60 cm\u003cbr\u003eWeight: 14,4 kg\u003cbr\u003e\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52090311934275,"sku":"XBD179657","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179657.jpg?v=1736096867"},{"product_id":"an-altar-of-king-ewuakpe","title":"An altar of King Ewuakpe","description":"\u003cdiv dir=\"ltr\"\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eThis altar group of King Ewuakpe is exemplary of the individualization of Benin's art.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eIt was in the center of the memorial altar that Akenzua I erected for his father, and illustrates the eventful history of the king, his deposition, and reinstatement.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eEwuakpe is not depicted with the full insignia of royal power - like Akenzua I in his altar group - but with a European-looking hat.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eHowever, he is wearing a large royal pearl and a high collar.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThe two accompanying figures are unadorned; they are interpreted as the two slaves with whom, according to oral tradition, he left the palace alone after he was deposed.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThe pestle in his right hand, decorated with powerful symbols, refers to the peaceful reconciliation of the reinstated king with the warriors and city lordss.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eKing Ewuakpe was a historical figure from the Kingdom of Benin, an ancient and powerful kingdom located in what is now southern Nigeria. He is best known for his reign during the late 17th century, although the exact years of his rule are difficult to pinpoint due to the challenges in documenting Benin's history before European colonization.\u003c\/p\u003e\n\u003cp\u003eEwuakpe was one of the kings (called Obas) of Benin, succeeding his father, Oba Orhogbua. The Benin Kingdom, which flourished from the 11th century, was well known for its advanced political organization, its skilled craftsmanship (particularly in bronze casting), and its strong military. The kingdom’s capital was Benin City, located in present-day Edo State, Nigeria. Ewuakpe’s reign was marked by several significant events:\u003cbr\u003e\u003cbr\u003e1. Internal Struggles:\u003cbr\u003eLike many African kingdoms, Benin experienced internal struggles for power, and there were often rival factions vying for control. Ewuakpe’s reign may have been affected by these struggles.\u003cbr\u003e\u003cbr\u003e2. Political and Religious Changes:\u003cbr\u003eThe kingdom was also dealing with the influence of foreign trade and the arrival of European traders along the coast. This had an impact on the political and economic systems of the kingdom. While his reign was relatively short, King Ewuakpe played a significant role in continuing the legacy of the Benin monarchy, which was central to the kingdom’s prestige and authority.\u003cbr\u003e\u003cbr\u003e3. Legacy of King Ewuakpe\u003cbr\u003eThough not as famous as some other Obas of Benin, such as Oba Ewuare the Great or Oba Ovonramwen Nogbaisi (who famously resisted British colonial forces during the Benin Expedition of 1897), Ewuakpe's role in the kingdom's history remains part of Benin's rich and intricate history.\u003cbr\u003e\u003cbr\u003eThe Benin Kingdom is renowned for its Benin Bronzes, which are sophisticated metal sculptures created from brass and other materials. These bronzes are a testament to the artistic and cultural achievements of the Benin people during the time of the Obas, including those like Ewuakpe.\u003c\/p\u003e\n\u003cp\u003eLit.: Benin, Könige und Rituale, Höfische Kunst aus Nigeria, editir parbara Plankensteiner ua. page 470 ff.\u003c\/p\u003e\n\u003cp\u003eHeight: 56 cm\u003cbr\u003eLength: 34 cm\u003cbr\u003eWeight: 25,6 kg\u003c\/p\u003e\n\u003cdiv id=\"ow18\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52135374324035,"sku":"XBD179738","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179738.jpg?v=1736349611"},{"product_id":"a-bronze-sculpture-of-a-servant-in-the-style-of-benin","title":"A bronze sculpture of a servant in the style of Benin","description":"\u003cp\u003eA bronze sculpture in the style of Benin depicts a servant in Nigeria, holding a leopard on its shoulder and hand. The sculpture stands on flattened feet, covered with a short shirt. The naturalistic casted torso and arms are surmounted by an ovoid head with a decorated, cap-like coiffure.\u003cbr\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eThe sculpture has damage on the left side of the torso, which has resulted in a dent.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eOtherwise, the figure is in exceptionally good condition.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eSigns of age can be seen particularly in the figure's clothing, which we have reproduced using enlargements (s. the following photos).\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cem\u003eIt is difficult to classify this rare figure stylistically, as there are no comparable examples in the Digital Benin category \"eyo-oto\".\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eIn any case, this is an excellent quality Benin cast, which can be explained in terms of content in a larger overall context if one combines the symbol of the power of the leopard, which plays a major role in the court of the Oba, with a servant who carries this animal on his shoulder, possibly to his master - the Oba.\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.panther.servant.jpg\" width=\"357\" height=\"425\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003e\u003cem\u003eSometimes customers ask us for reports on the age of bronzes.\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMost of the bronzes we buy do not have an age report and we judge our bronzes based on artistic aspects rather than necessarily on the time of creation.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eBut every customer has different priorities.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eTo make your own judgment, almost all of our bronzes are extremely magnified, which allows you to judge the age with some experience.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eOtherwise, we recommend that you contact an analysis institute of your choice, which may provide additional information on the age with TL analysis.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eOur own \"prima vista\" analyses are not part of our agreements with our customers and we are also not responsible for incorrect assessments. It is best for each customer to choose a laboratory of their own choice if the age is important to them.\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 64 cm\u003cbr\u003eLength: 27 cm\u003cbr\u003eWeight: 7,9 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52135434060099,"sku":"XBD179715","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD179715.jpg?v=1736349929"},{"product_id":"a-head-of-olokun-or-ooni-in-the-style-of-ife","title":"A head of Olokun or Ooni, in the style of Ife","description":"\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eProbably a \u003c\/span\u003e\u003c\/span\u003ehead of Olokun in the style of Ife, Nigeria,\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eBut there are different opinions about this bronze head.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eAnother opinion, based on oral tradition, assumes that this is the portrait of a Queen of the Ooni.\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eLife sized and cast using a lost wax technique. A crown like headdress with a circular crest, and a tubular band that runs across the head ornamented with small studs running horizontally on the top and the bottom of the band. The face with a delicate features: almond shaped eyes, small nose and full lips, with refined overall patterns. The neck is ringed which is a sign of beauty across many Ife and Benin heads. The holes in the neck were used to attach it to a wooden marionette, as described and shown by Frank Willett, Ife, pages Signs of oxidation, the neck is partly fragmentary, Certificate of origin and provenance, incl. wooden stand.\u003c\/p\u003e\n\u003cp\u003e“According to the oral traditions of the Yoruba people, Ife is the place where life and civilisation began. Ife is regarded as the legendary homeland of theYoruba-speaking peoples and its sacred ruler, the Ooni, is still revered as the descendant of the original creator gods. Ife is located in Osun State in modern south-western Nigeria.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/the.art.of.ife.lagos.1955.jpg\" width=\"551\" height=\"440\" alt=\"Lajuwa, Art of Ife, National Museum Lagos, 1955\"\u003e\u003cbr\u003eThe terracotta head in Lagos has nearly the same size like our head. And shows probably Olokun or a Queen of the Ooni.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Ife began to develop as a city-state in the late first millennium, around AD 800 and became a leading political, economic and spiritual centre in the lower Niger region. Between 1100 and 1400 it floursihed as a commercial centre with access to the lucrative trade networks along the Niger River.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe art of Ife has produced a large corpus of sculptural works in terracotta, stone, brass and copper which were found at different sites in the city. Among these artworks the representations of humans are striking for their naturalistic style. This life-like modelling is unique in Africa and when objects from Ife were first presented to the western world they were compared with the classical traditions of Ancient Greece and Rome. It was even suggested that such heads were evidence that Ife was the site of the lost civilization of Atlantis. In fact the sculpture of Ife is today rightly seen as one of the highest achievements of African art and culture.” Source: British Museum\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit:\u003cbr\u003eE. Platte, 2010, Head of a Ruler, London, British Museum Company\u003cbr\u003eE. Eyo and F. Willett, 1980, Treasures of Ancient Nigeria, London, Royal Academy of Arts\u003cbr\u003eJ. W. Langton, O. Akin Ige \u0026amp; T. Rehren \"Early Primary Glass Production in Southern Nigeria\" in Journal of African Archaeology, Vol. 4 (1), 2006\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cem\u003eThe Ife head of a queen refers to a sculpture from the ancient kingdom of Ife, one of the most significant cultural and artistic centers in pre-colonial West Africa. Ife, located in present-day southwestern Nigeria, was renowned for its advanced artistic traditions, particularly in the realms of metalworking, terracotta, and bronze casting.\u003cbr\u003eThe Ife heads, especially those depicting royalty and important figures, are some of the most iconic artifacts associated with the civilization. These sculptures often represent kings (Ooni), queens, and other high-ranking individuals, and they are noted for their intricate detail and naturalistic qualities, which set them apart from many other African art traditions.\u003cbr\u003eAn \"Ife head of a queen\" would likely be a highly detailed sculpture made from materials such as terracotta, brass, or bronze, featuring features like:\u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/ife.head.ooni.png\" width=\"335\" height=\"512\" alt=\"\"\u003e\u003cbr\u003eHead of an Ooni in the style of Ife, exhibited 2018\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi752\/pages\/www.wolfgang-jaenicke.com\"\u003eWolfgang Jaenicke Gallery\u003c\/a\u003e\u003cbr\u003ephoto: wolfgang-jaenicke.com\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e1. Realistic facial features: The Ife heads are known for their lifelike depictions of human faces, showing an extraordinary level of skill and an understanding of human anatomy.\u003cbr\u003e2. Complex hairstyles and adornments: Queens and other women depicted in Ife art are often shown with elaborate hairstyles, crowns, or jewelry, reflecting their status and beauty.\u003cbr\u003e3. Symbolism of power: The queens represented in Ife art are likely symbols of divine authority or noble status, with their heads serving as representations of leadership and reverence within the community.\u003cbr\u003eThese heads are generally believed to represent royal figures from Ife's classical period, roughly from the 12th to 15th centuries. They were likely used for ceremonial or religious purposes, possibly associated with ancestral worship or the honoring of deities. Some of the most famous Ife heads have been unearthed from archaeological sites in the region, revealing a complex and highly developed culture.\u003cbr\u003eOne of the most famous examples of Ife sculpture is the \"Ife Queen Head,\" which stands as a testament to the artistry and cultural significance of the Ife people.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 32 cm without stand\u003cbr\u003eHeight: 38 cm incl. stand\u003cbr\u003eWeight: 4 Kg incl. stand\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52319005016387,"sku":"XBD180447","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD180447.jpg?v=1737550647"},{"product_id":"a-kola-nut-container-in-the-style-of-benin","title":"A Kola nut container in the style of Benin","description":"\u003cp\u003eA Kola nut container in the style of Benin, the large head piece holds a container with a basic triangular shape, which is completely integrated into the fish shape with a lid. The entire surface consists of the fish scale ornament. The tail protruding from the right side of the mouth with pointed teeth shows a groove-like pattern. The idiosyncratic shape of the body with the rounded tail leading into the mouth is stabilised by a pair of crossed spikes, which are in turn laced at the crossing by a rope. Some age-related punctures in the lid and base of the interior, otherwise reddish-brown patina.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe phenomenon of the ouroboros or also uroboros, which already appeared in Ancient Egypt as a pictorial symbol, is illustrated with one for a snake biting its own tail, thus forming a closed circle with its own body.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIn art historical research, an exhibition entitled \"Never ending stories\".\u003cbr\u003eThe Loop in Art, Film, Architecture, Music, Literature and Cultural History“\u003cbr\u003einteresting references to the theme of Ouroboros as a symbol of infinity and eternity circling within itself through the centuries and world cultures.\u003cbr\u003eIn the show, the alchemy of the Middle Ages, the book learning of the Renaissance, Buddhism, Germanic mythology, occidental Christianity and atheistic philosophy met.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.bronze.catfish.jpg\" width=\"367\" height=\"272\" alt=\"\"\u003e\u003cbr\u003e\u003cspan\u003eAnother Benin broze in shape of a catfish, s. our Beni exhibition 2018\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSimilar representations referring to this symbol appear in many cultures.\u003cbr\u003ePlato already described a \"spherical being with a circular shape protruding\u003cbr\u003eequally from the centre to all end points\" as the most perfect form. Ouroboros needs nothing outside itself, no nourishment, since its food is its own excretions, and it needs no organs of locomotion, since outside itself there is no place to which it could go. He circles in and around himself, forming the circle as the most perfect of all forms.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWith regard to the figure described here and its function as a container,\u003cbr\u003ealchemical literature could provide information, because it makes the ouroboros the image symbol of a self-contained and repetitive process of transformationof matter,which in heating, evaporating, cooling and condensing a liquid is intended to refine substances, Duett In this process, the animal form closed into a circle is often replaced by two beings that connect the mouth and the end of the tail.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJorge Luis Borges discusses the ouroboros in his collection Unicorn,\u003cbr\u003eSphinx and Salamander - A Handbook of Fantastic Zoology, which he believes owes its fame to Scandinavian cosmogony. (Jorge Luis Borges, 1899-1986, Argentinian writer and librarian) Friedrich Nietzsche dealt with thoughts on the \"Eternal Return\" in many of his works. and the phenomenon of the ouroboros. In the often quoted fragment \"Allem Zukünftigen beißt das Vergangene in den Schwanz“ ( The Future Bites the Past in the Tail) from the collection of texts \"Nachgelassene Fragmente“ (The Fragments left behind), the forms these reflections into an aphorism. (Friedrich Wilhelm Nietzsche, 1844 - 1900, German philosopher, essayist, poet and writer)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLit. Felix von Luschan \"Die Altertümer Benins\", Band 1, S. 370 - 371\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWidth: 33 cm\u003cbr\u003eHeight :12 cm\u003cbr\u003eWeight: 5,6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52319297274179,"sku":"XBD180743","price":1500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD180743.jpg?v=1737552288"},{"product_id":"a-bronze-plate-in-the-style-of-benin","title":"A bronze plate in the style of Benin","description":"\u003cp\u003eA bronze plate in the style of Benin, Nigeria, depicting a horse-rider, signs of Oxidation; certificate of origin and provenance.\u003c\/p\u003e\n\u003cp\u003eReference: Digital Benin Archives\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eFollowing the British occupation of Benin City (Edo) in 1897 objects made of brass, ivory and wood were looted by British forces from the royal palace, its storerooms and compounds. Some of these objects were sold or exchanged on the coast. However, many were brought to the UK where they were sold through private auctions, donated to museums, or retained by soldiers of the \u003cspan id=\"2\" role=\"button\" data-bs-toggle=\"popover\" data-bs-trigger=\"focus\" data-bs-title=\"\" data-bs-content=\"\" data-bs-html=\"true\" tabindex=\"0\"\u003eexpedition\u003c\/span\u003e. The British Museum successfully petitioned the government to secure some of the relief plaques and over 300 were sent to the UK by the Consul-General [Sir] Ralph Moor and placed at the Foreign Office. During the summer of 1897 the Crown Agents for the Colonies, on behalf of the Foreign Office, agreed a temporary loan of 304 plaques to the British Museum. In September these were placed on public display in the Assyrian basement where they attracted considerable public attention. The Museum initially received 203 of these plaques as a gift from the Secretary of State for Foreign Affairs. In the summer of 1898, a further eleven plaques were sent to the British Museum from the Foreign Office and three of these were selected by the Museum and were subsequently presented as a gift. Of the remaining plaques the Foreign Office retained eight and the rest were offered for sale to major museums, collectors and private dealers in Europe and the UK. Today over nine hundred plaques are known to exist in museums and private collections around the world. See Collection File: Af1898,0115.1-203 (previously Eth.Doc.185).\u003c\/span\u003e\"\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003eSource: Digital Benin.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eHeight: 43 cm\u003cbr\u003eWeight: 2,8 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52322987114819,"sku":"XBD181449a","price":1200.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD181449a.jpg?v=1737568177"},{"product_id":"a-bronze-plate-in-the-style-of-benin-1","title":"A Bronze plate in the style of Benin","description":"\u003cp\u003eA Bronze plate in the style of Benin, Nigeria, depicting a high ranking, naked person,\u003cspan\u003e \u003c\/span\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003eAt the edge there is a rosette, partly pierced through for hanging.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en\"\u003e\u003cspan\u003e\u003cem\u003e\"The body adornment consists of coral foot cuffs and a coral collar, which identify them as high-ranking members of the royal court.\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eBoth are only worn during certain ceremonial occasions.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eWhile the layered hairstyle with the braided plaits is more common on Benin relief plates, the body adornment is rather rare.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eIt probably refers to a body tattoo, but body painting is also possible.\u003cbr\u003e\u003cbr\u003eAs early as 1919, Luschan mentioned the difficulty of distinguishing between painting and tattooing on the very similar Berlin plate.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eAt the time, he suspected that it was body painting that was applied for a particular festival.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eIn the Vienna catalog, this very plate is discussed again.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eUnfortunately, the author completely ignores the topic of body adornment and does not even name it. Instead, he devotes a large section to an anecdote that is supposed to be related to this plate.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eAccording to this, the middle boy represents the crown prince Odogbo, the son of King Oba Ehengbuda (ca. 1578 - 1608). Because of his feminine features, there was a rumor that the boy was actually a girl.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eFor this reason, the Oba ordered his son to walk naked from Usulu, where he resided, to Benin with a retinue of his own age as proof of his masculinity.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThis was to demonstrate that Odogbo was actually a man and could be considered as heir to the throne.\"\u003cbr\u003e\u003cbr\u003eCf.: Felix von Luschan: Die Altertümer von Benin, Volume 2, Berlin 1919, pp. 219-220. Barbara Plankensteiner (ed.): Benin.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eKings and Rituals.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eCourtly Art from Nigeria, Vienna 2007, p. 468.\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/certificate.provenace.plate.jpg\" width=\"284\" height=\"487\" alt=\"\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003encl. A Certificate of Provenance of the National Commission of Museums and Monuments (NCMM), Abuja, Nigeria. We suspect that this document was issued by the NCMM of a previous government or based on its original documents. We have not yet received a response to inquiries to the NCMM in Abuja from the current director, who has been in office since March 2024. In any case, this document is likely to be of considerable importance for provenance research, which has so far dealt almost exclusively with colonial injustice and its documentation.\u003c\/em\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/benin.%20naked.person.jpg\" width=\"242\" height=\"541\" alt=\"\"\u003e\u003cbr\u003eSource digital Benin, more items of this type of plate:\u003cbr\u003eDigital Benin Reference No.\u003cbr\u003e1900391, 211125, 211802, 8980115165, Af18980115169\u003c\/p\u003e\n\u003cp\u003eDimension:\u003cbr\u003eWeight:\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52323227664707,"sku":"XBD180802","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD180802.jpg?v=1737569554"},{"product_id":"a-bronze-relief-plaque-of-a-portuguese-soldier-in-the-style-of-benin","title":"A bronze relief plaque of a Portuguese soldier, in the style of Benin","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eA bronze relief plaque of a Portuguese soldier, in the style of Benin, Nigeria.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eFollowing the British occupation of Benin City (Edo) in 1897 objects made of brass, ivory and wood were looted by British forces from the royal palace, its storerooms and compounds. Some of these objects were sold or exchanged on the coast. However, many were brought to the UK where they were sold through private auctions, donated to museums, or retained by soldiers of the \u003cspan id=\"2\" role=\"button\" data-bs-toggle=\"popover\" data-bs-trigger=\"focus\" data-bs-title=\"\" data-bs-content=\"\" data-bs-html=\"true\" tabindex=\"0\"\u003eexpedition\u003c\/span\u003e. The British Museum successfully petitioned the government to secure some of the relief plaques and over 300 were sent to the UK by the Consul-General [Sir] Ralph Moor and placed at the Foreign Office. During the summer of 1897 the Crown Agents for the Colonies, on behalf of the Foreign Office, agreed a temporary loan of 304 plaques to the British Museum. In September these were placed on public display in the Assyrian basement where they attracted considerable public attention. The Museum initially received 203 of these plaques as a gift from the Secretary of State for Foreign Affairs. In the summer of 1898, a further eleven plaques were sent to the British Museum from the Foreign Office and three of these were selected by the Museum and were subsequently presented as a gift. Of the remaining plaques the Foreign Office retained eight and the rest were offered for sale to major museums, collectors and private dealers in Europe and the UK. Today over nine hundred plaques are known to exist in museums and private collections around the world. See Collection File: Af1898,0115.1-203 (previously Eth.Doc.185).\u003c\/span\u003e\"\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003eSource: Digital Benin.\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/jaenicke-njoya.com\/002.anhang\/Portugese%20soldier.png\" width=\"298\" height=\"440\" alt=\"\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003ePlaque found on Digital Benin.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe relief brass plaques that used to decorate the Oba's (king's) palace are among the most well-known of all the royal arts of Benin. Although frequently described as 'Benin Bronzes' most plaques are made of leaded brass in various compositions.The Benin brass plaques represent a distinct and unique corpus of work, unparalleled elsewhere on the continent. They are cast using the cire perdue (lost wax) technique and show significant variation in the depth of the relief. Some of the plaques portray historical events or commemorate successful wars, while others are a vivid depiction of Benin court life and ritual. Several groups of plaques show clear stylistic similarities. William B. Fagg suggested that these plaques represent the work of master brass casters. Fagg, William, 1973, 'Nigerian Images', London: Lund Humphries Gunsch, Kathryn, 2018, 'Benin plaques: a 16th century imperial monument', London: Routledge, Taylor and Francis Group ~Read \u0026amp; Dalton 1899: \"Figure of a European armed with matchlock and sword. He wears a hat with a low plume, a sleeveless jerkin over a vest, with points upon the breast, and base like that in Af1898,0115.5. The short breeches are not so clearly represented. Round the neck is a high ruff. The sword has a guard differing from any of those previously figured. At each corner is a rosette in relief, as in Af1898,0115.5.\"\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003eHeight: 50 cm\u003cbr\u003eLentgh: 30 cm\u003cbr\u003eWeight: 6 kg\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52323258827075,"sku":"XBD181404","price":10000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/XBD181404.jpg?v=1737569716"},{"product_id":"a-benin-bronze-of-a-hunter-in-tada-style","title":"A Benin Bronze of a hunter in Tada style","description":"\u003cp align=\"left\"\u003eA Benin Bronze of a hunter, Nigeria, Tada style.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eThe hunter's motive, which carries a killed antelope on his shoulders, is more common in the iconography of the Yoruba, and has probably received the greatest publicity through its copy\u003ca href=\"https:\/\/research.britishmuseum.org\/research\/collection_online\/collection_object_details.aspx?objectId=475318\u0026amp;partId=1\"\u003e in the British Museum. \u003c\/a\u003eAt the foot of these figures, which are usually on a rectangular pedestal, we see a leopard, which is the symbol of the hunters, because he himself is the hunter of the other animals in the bush. In the middle of the base is usually a hole, which served to accept victims. The figure has a strongly oxidized, greenish patina and various cracks, especially in the torso and in the legs.\u003c\/p\u003e\n\u003cp align=\"left\"\u003eThis object can be visited during the auction in the Gallery Wolfgang Jaenicke. It will not be sent and can only be picked up. After the end of the auction, the highest bidder can have the object for further analysis by its own account without significantly affecting the object in its substance. For this analysis, the winner of the auction has a period of 14 days. The object is from an old African Collection. Restitution organizations and individuals who are intensively concerned with restitution issues were informed about the object. See also Cultural Property Protection Law (Kultur Gut Schutz Gesetz - KGSG).Wolfgang Jaenicke Gallery, Berlin .\u003c\/p\u003e\n\u003cp align=\"left\"\u003eRelated \u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi416\/pages\/DSC01434.htm\"\u003eIfe\/Yoruba exemplare\u003c\/a\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003eTL Analysis Kotalla, 800 years +\/- 15 percent.\u003c\/p\u003e\n\u003cp align=\"left\"\u003esold\u003c\/p\u003e\n\u003cp align=\"left\"\u003eHeight: 60 cm\u003cbr\u003eWeight: 8,1 kg\u003c\/p\u003e\n\u003cp align=\"left\"\u003eA small \u003ca href=\"https:\/\/jaenicke-njoya.com\/Bi436\/pages\/CSC08595.htm\"\u003eguided tour\u003c\/a\u003e of Ife and Benin bronzes.\u003c\/p\u003e","brand":"wolfgang-jaenicke","offers":[{"title":"Default Title","offer_id":52323343040835,"sku":"DSC00364","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/files\/DSC00364.jpg?v=1737570174"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0631\/3797\/2463\/collections\/ABC07928.jpg?v=1713344284","url":"https:\/\/wolfgang-jaenicke.com\/collections\/benin.oembed?page=10","provider":"Galerie Wolfgang Jaenicke","version":"1.0","type":"link"}