Product Description
Bell Ife Bronze – Nigeria
This authentic antique Benin bronze ancestral altar bell, cast in the form of a dome comes from Nigeria. The bell is surmounted with by a horseman and adorned by geometical shape. Tribal bells were used for a variety of purposes, such as proclaiming a sacred presence as well as a neutralizing hostile or harmful forces. Bells were used as tools of communication, as portable instruments for conveying important messages, and as a form or currency. The predominant method employed by the Edo in creating objects like the Bells, called “lost-wax casting, does not permit for a mold to be used more than once, a fact which accounts for the idiosyncrasies and lack of exact copies in known examples of Benin bronzes. Using the bells and rattle stuffs to call the ancestor’s spirit, the Oba offered sacrifices to him and to the earth on the altar.
Made of 100% Bronze, copper alloy.
Model is W 8 – H 31 and weight 0.4 kg.
Additional information
| Weight | 0.4 kg |
|---|---|
| Dimensions | 8 × 31 cm |
| Color | |
| Material |
Leave a reply
Returns and Exchanges
There are a few important things to keep in mind when returning a product you purchased.You can return unwanted items by post within 7 working days of receipt of your goods.
- You have 14 calendar days to return an item from the date you received it.
- Only items that have been purchased directly from Us.
- Please ensure that the item you are returning is repackaged with all elements.
Ship your item back to Us
Firstly Print and return this Returns Form to:
30 South Park Avenue, San Francisco, CA 94108, USA
Please remember to ensure that the item you are returning is repackaged with all elements.
For more information, view our full Returns and Exchanges information.
Related Products
This small zoomorphic figure made of old bronze, black iron reveals some of the most accomplished sculptures made by a Nigerian tribe called Mumuye. Mumuye figure demonstrates an astonishing range of variations, testifying to their makers’ unbridled creativity and limitless inventiveness. These small sculptures reinforce the status and prestige of their owner, as they hold them in their hands, they have a dialogue with them and thus ensures them personal protection.
Made of 100% old bronze.
Model is W 58 - H 17 and weight 2.2 kg.
Made of 100% Bronze, copper alloy.
Model is W 38 â H 50 and weight 1.4 kg
This enigmatic creation originates from central Nigeriaâs Benue River Region. It was a kinetic ancestral sculpture, devoted to agricultural rites as well as to those relating to initiation of young boys into adulthood. Access to those events was highly circumscribed. Women, children, and outsiders were not allowed to view those nocturnal apparitions.The upper half distills an ancestral presence to essential features that are dramatically amplified.
Made of 100% wood.
Model is W 28 â H 69 and weight 1.9 kg.
This Kunin statuette originates from Middle Benue River Valley, Nigeria, and is distinguished by its overall elegant proportions. It is stylistically compared to their Mumuye and Jukun neighbors. This figure is not very common and their role is little known but it has been reported that figures such as this are used in a cult activity known as Jup that is in the main dominated by men or in the case of women, Jem.
Made of 100% carved wood, patina.
Model is W 13 - H 69 and weight 4 kg.
A beautiful Mumuye figure from northeastern Nigeria that incarnate titulary spirits. Mumuye figures carved with crescentic coiffure, an helmet like shaped head, large circular eyes and disc-like ears has a characteristical toroidal shape and the unmistakable stylistic sign of this Mumuye ethnic group. Thye are highly abstracted, perhaps in part because they invoke forms of human and supernatural authority. The statue may have added elements: beads, belts, bracelets, chains, leather laces, ropes or braided vegetable matter, brass wires, or cowrie shells. The statues’ principal characteristic, unique in African art, is the openwork between the body and the arms, which forms a scroll or a spiral around the slender, cylindrical bust. The Mumuye distinguish the gender of the figures on the basis of the shape of the ears; only Mumuye women distend their earlobes.
Made of 100% Wood with dark patina, kaolin, fiber, beads.
Model is W 12 – H 30 and weight 0.2 kg.
This small Kunin sculpture, from the Middle Benue River Valley, Nigeria, is distinguished by its overall elegant proportions and stylistically compared to their Mumuye and Jukun neighbors. The Chamba venerate anthropomorphic statues of male and female gender. The figure is not very common and their role is little known but it has been reported that there figures are used in a cult activity known as Jup that is in the main dominated by men or in the case of women, Jem.
Made of 100% carved wood, patina.
Model is W 8 - H 67 and weight 1.7 kg.
This rare, museum quality, authentic Amulet Bronze Equestrian ring with Horse Riding warrior (circa mid- late 1800s) originates from the Dogon tribe, a symbol of a material power, but also the instrument of warlike adventures. In a more metaphysical way, he dominates the mortal and spiritual world by displaying his physical and moral strength.
Made of 100% Brass / Bronze
Model is W 5 – H 3 and weight 0.02 kg.
This rare Wurkun (or Bikwin) small figure, in a post or staff-like form, is known as iagalagana and incarnates tutelary spirits. The stylized figure is stuck on iron rods, with a beautiful crusty red ocher patina. These statues were frequently washed with liquid clay, "fed" with millet beer offerings, rubbed with oil, explaining the thickness of the clay.
Made of 100% Iron, Paint.
Model is W 41 - H 14 and weight 3.5 kg.
This beautiful Mama Bush Cow in full figure is classic example of a traditional African figure created by the Mama people who live in the interior of Nigeria in the Benue River Valley north of the Jos plateau. It is extremely rare to get hold of a Mama Bush Cow.
Made of 100% wood, cam wood, pigment.
Model is W 50 - H 16 and weight 2 kg.
This rare and beautiful 19th–mid-20th century mother-and-child maternity figure carved for the Royal Court originates from northeastern Igboland, Nigeria. The Shango crest sits on atop the head, with ethnic adornments and scarification and exceptional detail in the facial expression. Shango is the god of thunder and lightning. Shango is both feared in the context of justice and magic and venerated as his manifestations bring beneficial rain for crops.
Made of 100% wood.
Model is W 75 - H 16 and weight 5.2 kg.
This beautiful miniature head cast in the lost wax technique originates from Ife, Nigeria, the religious and former royal centre of the Yoruba people. It is believed to represent an Ooni which means king. Such sculptures such as this was very unqiue to the culture of African art. 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.
Made of 100% "Bronze" Brass, copper alloy.
Model is W 9 – H 22 and weight 0.4 kg.
This is a large corpus of Yoruba sculpture known and identified as to symbol and meaning identified to the various orishas or deities. This beautiful sculpture depicts a seated woman, holding a child on her knees and breastfeding. To the Yoruba the prime manifestation of the life force is fertility and women are the stronger sex as the life force manifests itself directly in them in the form of menstruation and childbirth. These figures, some of which were brightly painted, were placed on altars in shrines or displayed at special ceremonies. In Yoruba society, the most important role of women is to bear children, and as such, sculptures depicting mother and child are widespread, reflecting a number of ideas, such as continuity, ancestors, or family.
Made of 100% wood, adroned with beads and cowrie shells.
Model is W 36 â H 100 and weight 2.4 kg.
This hand-cast crafted Djenne ring is made of bronze and dates as early as the 11th or 12th century. Dugged from the ground, it has retained its archeological patina. A superb heavy oxidized vert-de-gris patina of greens and browns as well as encrusted deposits cover this imposing ring.
Made of 100% Brass / Bronze
Model is W 5 – H 3 and weight 0.02 kg.
This authentic antique Benin bronze ancestral altar bell, cast in the form of a dome comes from Nigeria. The bell is surmounted with by a horseman and adorned by geometical shape. Tribal bells were used for a variety of purposes, such as proclaiming a sacred presence as well as a neutralizing hostile or harmful forces. Bells were used as tools of communication, as portable instruments for conveying important messages, and as a form or currency. The predominant method employed by the Edo in creating objects like the Bells, called “lost-wax casting, does not permit for a mold to be used more than once, a fact which accounts for the idiosyncrasies and lack of exact copies in known examples of Benin bronzes. Using the bells and rattle stuffs to call the ancestor’s spirit, the oba offered sacrifices to him and to the earth on the altar.
Made of 100% Bronze, copper alloy.
Model is W 8 – H 32 and weight 0.4 kg.
This Mid 20th century Chamba statue is not very common and their role is little known but it has been reported that figures such as this are used in cult activity known as Jup that is in the main dominated by men or in the case of women, Jem.
Made of 100% carved wood and camwood powder.
Model is W 50 - H 167 and weight 4.7 kg.
This figure represents a kneeling maternity figure holding a shaft, and with a baby on her back. Her facial features are very expressive and are carved with naturalistic detailing such as large scarification on cheeks and forehead. The finial hairstyle called known as irun agogo, adds to the figure's beauty. The patina is shiny and smooth. This figure, a recent bride or a priestess, depicts an homage to maternity or motherhood and was used as a shrine to deities Shango or Eshu in the Yoruba religion. The mother and child could have had a more public role appearing during festivals and religious ceremonies. The piece has a shine and rich patina.
Made of 100% wood.
Model is W 70 - H 27 and weight 6 kg.
This hand-cast crafted Djenne hairpin is a handsome example of Dogon art; and as such, presents a style that greatly influenced the art of the West. It was used as an hair ornament and jewelry. The figure is a mother and child in a seated position.
Made of 100% Brass / Bronze
Model is W 1 – H 14 and weight 0.2 kg.
This Bembe statuette originates from the People's Republic of the Congo. Bembe ancestor statues are rare and they can only be found in the south western part of their territory. The most known are called Biteki, and portray generally impressive corporal scarification. They mostly represent Heads of village, warriors and women.
Made of 100% wood.
Model is W 74 - H 17 and weight 5 kg.
Female spirit statue (Anjenu) originating from the Idoma peoples that live south of the Benue river. The statue evokes a spiritual protective power that inhabits the water or the bush and sometimes appears in dreams. Anjenu helps to cure illness and, above all, aids female fertility. The Anjenu was invoked by men who wanted their wives to become pregnant. Protruding conical breasts and navels are common. The face is usually painted with white pigments, scarification marks in front of the ears as well as the vertical one on the forehead, and the blackened lips surrounding the mouth with its clearly visible teeth - a stylistic characteristic often shared with Ibo people. Seated statues are believed to incarnate fertility, a frequent theme in the region.
Made of 100% wood, pigment.
Model is W 30 – H 50 and weight 3.6 kg.
This beautiful miniature head cast in the lost wax technique originates from Ife, Nigeria, the religious and former royal centre of the Yoruba people. It is believed to represent an Ooni which means king. Such sculptures such as this was very unqiue to the culture of African art. 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.
Made of 100% Bronze, copper alloy.
Model is W 9 – H 22 and weight 0.4 kg.
"Elu" mask with hinged movable jaw originates from the Ogoni tribe in Nigeria, early 20th century. Lower jaw portion attached to upper by narrow wooden threads on each side. Semicircular disc like ears protrude from sides of face. Scarification marks with geometrically incised designs appear on forehead. The eyes are hollow almond shaped openings. The head decoration has a raised portion representing ancestors or title holders.
Made of 100% light hand-carved cane wood, fiber and pigments.
Model is W 33 - H 21 and weight 0.8 kg.
This beautiful mask with a figure surmounting it is an Epa masks origination from the Yoruba/Ekiti people of northern Nigeria. Masks such as these are considered one of the largest masks used in Africa, and worn as a helmet. The Yoruba/Ekiti festival celebrates life, unity, and abundance of the village, and honor the families and lineages of the elders. The female figure surmounting the mask is a traditional Yoruba power symbol of offering, feminine powers, create life-balancing men’s social skills as rulers and chiefs. These large masks have extraordinary presence-conveying some of their power to visually project abstract principles and sculptural authority. This is one of them and it would hold a prominent place in a collection.
Made of 100% Wood.
Model is W 69 H 19 and weight 3.2 kg.
A sculpture representing the ancestors of the Chamba that settled south of the Benue, nearby the Jurkun. These type of Statue of the Chamba are quite rare and their role is little known but it has been reported that figures such as these are used in a cult activity known as Jup that is in the main dominated by men or in the case of women, Jem.
Made of 100% carved wood, patina, pigments.
Model is W 11 – H 40 and weight 2 kg.
The Jagunjagun ( 'warrior' or Ogun meaning 'god of war') mask represents ancestors of power with the ability to protect the community against external threats. It brings to mind energy, power and authority but is also a visual representation of past calvary that protected the Ekiti peoples during warfare. Epa helmet masks are used to promote health and wellbeing within by celebrating and honouring ancestors, cultural heroes and important individuals (including mothers, priests, farmers, kings and hunters) within a village. Originating in Ekiti and spreading to much of North-Eastern Yoruba towns (including Owo, Efon Alaye, Igbomina and Ijesa), the bi-annual, week-long Epa festival acknowledges the roles these individuals have played in building a successful community. The Jagunjagun ( 'warrior' or Ogun meaning 'god of war') mask represents ancestors of power with the ability to protect the community against external threats. It brings to mind energy, power and authority but is also a visual representation of past calvary that protected the Ekiti peoples during warfare.
Made of 100% wood.
Model is W 34 â H 79 and weight 2.5 kg.
This miniature Ife head is cast in the lost wax technique, and originates from Ife, Nigeria. The heads often depict historic individuals and heroes of Ife, spiritual home of the Yoruba. 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.
Made of 100% "Bronze" Brass, copper Alloy.
Model is W 8 – H 22 and weight 0.4 kg.
Made of 100% Terracotta
Model is W 18 - H 47 and D 14 weight 7 kg
This sculpture originates from the Igbo peoples, from southern Eastern Nigeria, near a small river called Benue. The tribe is linked to the Idoma. The sculpture is depicting a male seating on what seems to be a royal stool. Seated statues are believed to incarnate fertility, a frequent theme in the region. They help cure illness, and help in reproduction, and fertility. The male figure must have been a royal, a merchant or a trader.
Seated statues are believed to incarnate fertility, a frequent theme in the region. They cure illnesses, and help in reproduction, and fertility. There is strong social pressure toward individual distinction, and men can move upward through successive grades by demonstrating their achievements and their generosity.
The beautifully carved figure is an important addition to any collection. The carving is a key example of an Igbo sculptural genre called ikenga. It depicts a women in a seated position with a child on her laps. The mother and child ikenga, an homage to maternity and motherhood, could have been part of a shrine, where it would have received prayers and sacrifices in return for the ancestorsâ support and guidance or had a more public role appearing during festivals and religious ceremonies.
Made of 100% wood.
Model is W 28 â H 73 and weight 2.6 kg.
Female spirit statue (Anjenu) originating from the Idoma peoples that live south of the Benue river. The statue evokes a spiritual protective power that inhabits the water or the bush and sometimes appears in dreams. Anjenu helps to cure illness and, above all, aids female fertility. The Anjenu was invoked by men who wanted their wives to become pregnant. Protruding conical breasts and navels are common. The face is usually painted with white pigments, scarification marks in front of the ears as well as the vertical one on the forehead, and the blackened lips surrounding the mouth with its clearly visible teeth - a stylistic characteristic often shared with Ibo people. Seated statues are believed to incarnate fertility, a frequent theme in the region.
Made of 100% wood, pigment.
Model is W 30 – H 50 and weight 0.6 kg.
This figure represents a female kneeling figure holding a bowl, known as Olumeye. Her facial features are very expressive and are carved with naturalistic detailing such as large scarification on cheeks and forehead. The finial hairstyle called known as irun agogo, adds to the figure's beauty. The patina is shiny and smooth. This figure, a recent bride or a priestess, depicts an homage to maternity or motherhood and was used as a shrine to deities Shango or Eshu in the Yoruba religion. The piece has a shine and rich patina. The Olumeye are carved most often in the shape of a rooster and placed in front of a female figure who is shown kneeling in a position of submission and offering. The bowl was used to serve cola nuts to elite guests.
Made of 100% wood.
Model is W 66 H 14 and weight 3.8 kg.
This fantastic Chamba statue, is not very common and has an exceptional aesthetic presence and compelling abstract design. It was thought to have either a protective or healing function for the Wurkun or Bikwin peoples of the Benue River Valley.
Made of 100% carved wood and camwood powder.
Model is W 60 – H 14 and weight 3 kg.
This authentic, free-standing brass head cast in the lost wax technique of the Benin Kingdom, in what is now Nigeria, exhibits a virtuosity and sophistication of style that has astonished the Western world since they were visited in the 15th century. The face's shape and unique expression, a tranquil and dignified presence with the transcendent gaze clearly indicate qualities of genuine nobility: endurance, far-sightedness, determination, and wisdom.
Made of 100% Copper
Age late 14th-early 15th century
Model is W 40 – H 26 and weight 5 kg.
This hand-cast crafted Djenne bracelet is made of bronze and terracotta dates as early as the 11th or 12th century. This type of bracelets were highly prized in Western Africa from 1600-1900, and utilized not only as jewelry and Currency Trade Money, but also as portable wealth.
Made of 100% Brass / Bronze
Model is W 11 – H 3 and weight 0.15 kg.
This finely carved bronze figure represents a dwarf at the court of Benin. Wearing courtly dress in continuation of the traditional bronze art of Benin in form of a bearded person with o-shaped legs and neck adornment. In Edo culture dwarfs were known as the jugglers and acrobats in the Oba court.
Made of 100% Bronze
Model is W 46 – H 22 and weight 5 k
The beautifully carved figure is a key example of an Igbo sculptural genre called ikenga. It depicts a a male warrior in a seated position on a one-legged stool, holding a cutlass in one hand and a tool. The figure wears an elaborate headdress comprised of two curving, interconnected horn-like extensions, with three projecting cone shapes on either side of the face. The horns, perhaps those of a ram, underline the rank or chief status of the image. The figureâs forehead and temples are graced with parallel incisions imitating local scarification patterns known as ichi. The ichi scars signal that the sculpture represents a high-ranking member of one of the many Igbo male associations. The white color around the eyes, derived from chalk, signifies purity and protection, and refers to the benevolence of the spirits.
Made of 100% wood.
Model is W 28 â H 96 and weight 2.6 kg.
This beautiful miniature head cast in the lost wax technique originates from Ife, Nigeria, the religious and former royal centre of the Yoruba people. It is believed to represent a king. 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.
Made of 100% "Bronze" Brass, copper alloy.
Model is W 9 – H 22 and weight 0.4 kg.
Chamba sculptures are not very common and have an exceptional aesthetic presence and compelling abstract design. It was thought to have either a protective or healing function for the Wurkun or Bikwin peoples of the Benue River Valley, and were kept in small houses. Their function is to ensure the well-being of the owner and his family.
Made of 100% wood, pigment.
Model is W 12 - H 35 and weight 1.2 kg.
This "Elu" mask originates from the Ogoni tribe in Nigeria. Scarification marks with geometrically incised designs appear on the forehead. The eyes are hollow almond shaped openings. The head decoration has a raised portion representing ancestors or title holders.
Made of 100% light hand-carved cane wood, fiber, and pigments.
Model is W 32 - H 21 and weight 1 kg.
This âEluâ mask originates from the Ogoni tribe in Nigeria. Scarification marks with geometrically incised designs appear on the forehead. The eyes are hollow almond shaped openings. The head decoration has a raised portion representing ancestors or title holders.
Made of 100% wood.
Model is W 18 â H 42 and weight 0.4 kg.
Ancestral Oba warrior figure coming from Benin. The male character wears ornaments around the waist and neck. He also wears a hairstyle, showing his high rank in the benign society, we find in fact the frontal excrescence of the royal headdresses. The art of Benin, an art of court, it is closely associated with the king, known as Oba and exclusively for the use of the inhabitants of the royal palace and, most often, placed on altars dedicated by each new Oba . The tradition of Ife bronze course objects dates back to the 14th century. The Benin bronzes are probably among the most famous of the tribal art of Black Africa.
Made of 100% Bronze, copper alloy.
Model is W 8 – H 24 and weight 0.4 kg.
This Djenne bracelet made of bronze and terracotta dates as early as the 11th or 12th century. This type of bracelets such as this were highly prized in Western Africa from 1600-1900, and utilized not only as jewelry and Currency Trade Money, but also as portable wealth.
Made of 100% Brass / Bronze
Model is W 12– H 9 and weight 0.2 kg.
This Kunin statuette originates from Middle Benue River Valley, Nigeria, and is distinguished by its overall elegant proportions. It is stylistically compared to their Mumuye and Jukun neighbors. This figure is not very common and their role is little known but it has been reported that figures such as this are used in a cult activity known as Jup that is in the main dominated by men or in the case of women, Jem.
Made of 100% carved wood, patina.
Model is W 10 - H 66 and weight 2 kg.
This authentic antique Benin bronze ancestral altar bell, cast in the form of a dome comes from Nigeria. The bell is surmounted with by a horseman and adorned by geometical shape. Tribal bells were used for a variety of purposes, such as proclaiming a sacred presence as well as a neutralizing hostile or harmful forces. Bells were used as tools of communication, as portable instruments for conveying important messages, and as a form or currency. The predominant method employed by the Edo in creating objects like the Bells, called “lost-wax casting, does not permit for a mold to be used more than once, a fact which accounts for the idiosyncrasies and lack of exact copies in known examples of Benin bronzes. Using the bells and rattle stuffs to call the ancestor’s spirit, the oba offered sacrifices to him and to the earth on the altar.
Made of 100% Bronze, copper alloy.
Model is W 9 – H 32 and weight 0.4 kg.
This zoomorphic figure with protruding eyes and a large open mouth and carved teeth is a classic example of the Mambila people of northern Nigeria. They are thought to embody ancestors who are responsible for the clan's wealth. The wide range of uses to which such a figure may have been employed was probably determined by the medicines in the possession of the owner, and how it was activated, rather than by specific stylistic characteristics of the sculpture itself.
Made of 100% wood, red pigments.
Model is W 39 - H 20 and weight 1.1 kg.
This Ife bracelet from Benin is made of bronze and was used as currency and left as a gift of great value to the bride, as a wish for prosperity. In addition to the consistency and weight, this cuff is remarkable because of the details of the decorations, which are a clear sign of the Benin artistic mastery. The holes, perfectly integrated in the design, demonstrate the use of the valuable lost wax technique.
Made of 100%Â Brass / Bronze
Model is W 6 â H 13 and weight 0.6 kg.
This ceramic depiction of an ancestral elder was made by the Nok people of Nigeria, at the very start of the first millennium AD. This piece is a classic of the Nok culture. Little is known of the original function of the pieces, but theories include ancestor portrayal, grave markers, and charms to prevent crop failure, infertility, and illness. Also, based on the dome-shaped bases found on several figures, they could have been used as finials for the roofs of ancient structures.
Made of 100% terracotta.
Model is W 48 – H 15 and weight 1.2 kg.
This beautiful miniature Ife head is cast in the lost wax technique, and originates from Ife, Nigeria. The heads often depict historic individuals and heroes of Ife, spiritual home of the Yoruba. 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.
Made of 100% "Bronze" Brass, copper alloy.
Model is W 16 – H 19 and weight 0.4 kg.
Reviews
There are no reviews yet.