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Todas las subastas / Etnográfica / A bronze mask - Ram - Benin - Nigeria (No reserve price)
Benin Hip Ornament with Ram, Nigeria Nigeria, Benin City, Kingdom of Benin, Edo Bronze / copper alloy, incl stand A finely conceived cast metal hip ornament from Benin City representing a ram's head surrounded by an elaborate openwork structure. The additional identification as a hip ornament substantially clarifies the function of the object: rather than an independently conceived animal sculpture, it belongs to the tradition of prestigious personal regalia associated with Benin court culture. The central element consists of an elongated ram's head with a broad forehead and tapering muzzle. The facial features are comparatively restrained, while the lower portion is enriched with finely incised linear ornament. Most prominent are the large horns, which rise on either side before curving downward in pronounced arcs. Their surfaces are articulated by engraved and crosshatched patterns. The head is positioned above an exceptionally elaborate openwork element of approximately semicircular form. This broad framework consists of interlaced and braided bands arranged in successive curved registers. Numerous loop-shaped pendants with thickened terminals create a decorative fringe around the perimeter. The pierced construction establishes a sophisticated interplay between metal and negative space. Its identification as a hip ornament places the work within the elaborate system of personal adornment that communicated position and ceremonial identity at the Benin court. Copper-alloy ornaments could form part of the regalia of rulers, chiefs, warriors and other individuals associated with the palace hierarchy. Their imagery and material transformed dress into an important vehicle for the visual expression of status. The ram itself carries associations with strength and sacrificial practice in southern Nigerian traditions, although the precise significance of the animal in this particular ornament should not be reduced to a single interpretation without documentation of its original context. The technical complexity of the work is considerable. Lost-wax casting allowed the maker to combine a strongly modelled animal head, curved horns, incised ornament and an extensive pierced surround within a unified composition. The resulting object has an almost heraldic quality, designed to remain visually effective when attached to the body. The surface displays dark brown to blackish tones with areas of greenish oxidation and lighter brown highlights. Casting irregularities, abrasion and variations in patination are visible throughout. The precise date and history of the present object cannot be established from photographs alone. Literature: Philip Dark, An Introduction to Benin Art and Technology, Oxford University Press, Oxford, 1973. Paula Girshick Ben-Amos, The Art of Benin, British Museum Press, London, 1995. Barbara Plankensteiner (ed.), Benin: Kings and Rituals. Court Arts from Nigeria, Museum für Völkerkunde, Vienna, 2007. Kathleen Bickford Berzock, Benin: Royal Arts of a West African Kingdom, Art Institute of Chicago, Chicago, 2008. Some of the information and photos are generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history documents. All information and photos are protected by copyright. Inv. No. MAZ28588 Height: 22 cm Weight: 1.2 kg (incl. stand) Legal Framework Under the 1970 UNESCO Convention in combination with the Kulturgutschutz Gesetz (KGSG) any claim for the restitution of cultural property becomes time-barred three years after the competent authorities of the State of origin obtain knowledge of the object’s location and the identity of its possessor. All bronzes and terracotta items offered have been publicly exhibited in Wolfgang Jaenicke Gallery since 2001. Organisations such as DIGITAL BENIN and academic institutions such as the Technical University of Berlin, which have been intensively involved in restitution-reseaches (translocation-project) over the past seven years, are aware of our work, have inspected large parts of our collection and have visited us in our dependance in Lomé, Togo, among other places, to learn about the international Art trade on site. Furthermore, the National Commission for Museums and Monuments (NCMM) in Abuja, Nigeria, has been informed about our collection. In no case in the past have there been restitution claims against private institutions such as the Wolfgang Jaenicke Gallery Our Gallery addresses these structural challenges through a policy of maximum transparency and documentation. Should any questions or uncertainties arise, we invite you to contact us. Each matter will be reviewed diligently using all available resources.
Estimación:€500
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