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.

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.

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 – H 79 and weight 2.5 kg.

This zoomorphic figure with protruding eyes is a classic example of the Mambila people of northern Nigeria.  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, pigments.

Model is W 41 - H 18 and Weight 1.2 kg.

A particularly unusual helmet like mask from the Nsukka area, the northern part of the north-central Igbo region in Nigeria. This region has one of the most complex and diverse mask making traditions in Nigeria.

Made of 100% wood.

Model is W 39 - H 22 and weight 0.7 kg.

Vintage tribal ceremonial spoon nicely cast in bronze in the traditional lost wax method, and is decorated with typical tribal motifs. It has aged well, with good colour/patina and is in good condition.

Made of 100% "Bronze" Brass, copper alloy.

Model is W 5 – H 41 and weight 0.5 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% Brass / Bronze

Model is W 6 – H 13 and weight 0.6 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.

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 hand-cast crafted ceremonial Djenne Three Clover Leaf 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 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.

Brass ceremonial tobacco pipe, conical, decorated with a geometric ornments and facial features. The piece originates from the Ife tribe in Nigeria. Pieces such as this one were created to honor the king , or Oba, who has reigned, with his ancestors, from the 15th century. 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 18 – H 43 and weight 0.4 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.

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 ancestors’ support and guidance or had a more public role appearing during festivals and religious ceremonies.

Made of 100% wood.

Model is W 28 – H 73 and weight 2.6 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 31 and weight 0.4 kg.

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 figure’s 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 – H 96 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 3.6 kg.

This enigmatic creation originates from central Nigeria’s 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 – H 69 and weight 1.9 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 authentic, well preserved bronze plaque of the Benin Kingdom in what is now Nigeria exhibits a virtuosity and sophistication of style that has astonished the Western world. The figure and pose are classic from the high period of Benin art in the 15th century and honor the King or Oba.

Made of 100% Bronze

Model is W 36 – H 28 and weight 64 kg.

This Early-mid 20th century mother-and-child figures are placed in shrines and used by diviners in northeastern Igboland, Nigeria. The Igbo figures of mother and child are very rare.

Made of 100% wood, kaolin.

Model is W 55 - H 19 and weight 3.5 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 – H 100 and weight 2.4 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.

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.

"Elu" mask with an expressive Bird like face and hinged jaw originates from the Ogoni tribe in Nigeria, early 20th century. Wooden face mask with hinged, movable jaw. 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 both sides of the face at outer corner of eye area. The eyes are hollow almond shaped openings. The head decoration has a raised portion, with a vertical light-painted keloid or scar mark the center.

Made of 100% light hand-carved cane wood, fiber and pigments.

Model is W 30 - H 19 and weight 3 kg.