A bronze sculpture - Yoruba - Nigeria (No reserve price)

Yoruba bronze sculpture, Akure region, Nigeria, Bronze and copper alloy, incl stand. This bronze object from the Yoruba tradition features a broad, ring-shaped form that is open at the top, resembling a rigid necklace, a torque, or a piece of ceremonial adornment. It consists of two thick, curved arms that end in flared tips connected by a thinner, arched rod. The surface, dark brown with golden highlights, bears an irregular patina and numerous relief motifs arranged on the outer face: these include birds, stylized human faces, clusters of small circular protrusions, and other zoomorphic or geometric motifs. These decorative elements do not appear to be merely ornamental; in the Yoruba context, animals and human figures may be part of a symbolic language related to power, protection, fertility, ancestors, or the spiritual world, although their precise meaning depends on the ritual context and the object’s provenance. The pronounced curvature, the mass of the metal, and the repetitive arrangement of the motifs give the piece a character that is both prestigious and ceremonial, consistent with a status symbol or an object of social representation. From an anthropological perspective, this type of bronze attests to the ancient importance of copper alloy work in Yoruba societies in Nigeria and present-day Benin, where metal objects could embody wealth, authority, and the connections between the visible world and the religious realm. A large cast-metal coin or ceremonial object attributed to the Yoruba people of the Akure region in southwestern Nigeria. This reassessment of the object’s identification is significant: it should not be described as a Chamba necklace, but rather as a form of Yoruba metal currency associated with the Akure region. The object takes the form of an almost complete circle, interrupted by a relatively narrow opening at the top. Its massive proportions, considerable weight, and carefully balanced geometry give it a decidedly monumental appearance. The thick metal body follows a continuous curved profile and rises gradually toward two opposite ends. These ends terminate in large, flattened, disc-shaped elements, each featuring a thin projection directed inward. The projections come close together without meeting, thus creating a narrow central opening and establishing a distinct axis of symmetry. Although the circular shape is reminiscent at first glance of a necklace or a heavy body ornament, its identification as a coin places its mass and material at the heart of its significance. In many West African economic systems, cast or forged metal objects could serve as recognized expressions of value while also functioning as stores of wealth and objects of social prestige. These forms of currency did not necessarily function in the same way as modern currency. Their roles could include exchange, ceremonial payments, dowries, compensation, as well as the accumulation or display of wealth. The significant amount of metal contained in this object would have contributed to its value in and of itself. Literature: Karl-Ferdinand Schädler, Encyclopedia of African Art and Culture, Panterra Verlag, Munich, 2009. Jan Hogendorn and Marion Johnson, The Shell Money of the Slave Trade, Cambridge University Press, Cambridge, 1986. George W. Ellis, Negro Culture in West Africa, Neale Publishing Company, New York, 1914. 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. MAZ29938 Informant Amadou Dogo

Estimate:$308.12

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