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Julien Gauthier

An Akan Bronze pendant, Ghana. Heavily oxidize, signs of ritual use and age.

Akan bronze pendants are cast metal objects originating from the Akan-speaking peoples of Ghana and Côte d’Ivoire. Produced predominantly through the lost-wax casting technique, these pendants typically depict human figures, animals, abstract forms, or symbolic motifs that reflect the cultural, religious, and social values of the Akan. Often made from copper alloys—including brass and bronze—they form part of a broader Akan metalworking tradition known primarily for the production of gold weights, regalia, and other prestige items.
The pendants functioned both as personal adornment and as symbols of status or spiritual protection. They were frequently worn during ceremonies or attached to garments, belts, or other regalia of chiefly or priestly figures. Some pendants were believed to possess apotropaic qualities, particularly those depicting animals with symbolic resonance such as birds, crocodiles, or chameleons. Others may have had mnemonic or communicative functions, referencing Akan proverbs or moral values.
The stylistic variety of Akan bronze pendants is wide, though they tend to share characteristics such as schematic abstraction, formal symmetry, and surface detailing achieved during the wax modeling phase. The use of the lost-wax method allowed for high individuality, as each piece is unique. Despite their individuality, they remain legible within Akan visual language, which was understood within specific sociopolitical and ritual contexts.
Though often grouped together with goldweights in museum collections, bronze pendants represent a distinct class of objects. Whereas goldweights (mrammuo) served a metrological function and were generally associated with trade and wealth, pendants occupied more personal or ritual spaces. Their continued production into the early twentieth century, and in some regions even later, speaks to the durability and adaptability of Akan metalworking practices despite colonial disruptions.
Scholarly interest in these pendants has grown in recent decades, as they provide insight into non-verbal communication, material culture, and the transmission of cultural knowledge in West Africa. Institutions such as the British Museum, the Smithsonian, and the Musée du quai Branly hold significant examples, often acquired through colonial-era collecting practices that remain a subject of ethical scrutiny.

The description is given to the extend of our knowledge. Without any scientific test, it stays our opinion. 

The seller guarantees and can prove that the object was obtained legally. The seller was informed by Catawiki that they had to provide the documentation required by the laws and regulations in their country of residence. The seller guarantees and is entitled to sell/export this object. The seller will provide all provenance information known about the object to the buyer. The seller ensures that any necessary permits are/will be arranged. The seller will inform the buyer immediately about any delays in obtaining such permits.

References:
Cole, Herbert M., and Doran H. Ross. The Arts of Ghana. Los Angeles: Museum of Cultural History, UCLA, 1977.
Niangoran-Bouah, Georges. La Symbolique Akan. Abidjan: Les Nouvelles Éditions Africaines, 1984.
Bacquart, Jean-Baptiste. The Tribal Arts of Africa. London: Thames & Hudson, 1998.
Arhin, Kwame. Traditional Rule in Ghana: Past and Present. Accra: Sedco Publishing, 1985.

Bronze - Rimelig stand

Et bronze anhæng - Akan - Ghana  (Ingen mindstepris)

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Et bronze anhæng - Akan - Ghana (Ingen mindstepris)

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