A Losso pair, Northern Togo; signs of ritual use and age. Losso sculpture refers to the carved wooden figures created by the Losso, also known as Lamba or Nawdba, who live mainly in the northern regions of Togo around the area of Kara. These sculptures are typically carved from dense, dark hardwoods and are known for their compact, sturdy proportions. The bodies are usually cylindrical or slightly tapering, with short, powerful legs and simplified heads that emphasize presence and solidity rather than anatomical realism. The overall visual character is one of restraint and mass rather than intricate detail. These figures have strong ritual associations. Many served as protective fetishes kept in domestic or communal shrines, sometimes placed in granaries or animal enclosures to guard against misfortune or malevolent forces. Surface markings such as carved scarification patterns, incised geometric motifs, and notched features are common. The eyes are sometimes drilled or deeply incised, giving the face an intense, watchful expression. The patina often appears dark and worn, the result of long-term ritual handling, smoke exposure, or libations. Among the notable forms within Losso sculpture are two-headed figures carved with a single body supporting paired heads. Such works are rare and considered powerful objects within their cultural context. Their dual structure is often interpreted as a representation of heightened spiritual potency or a symbolic expression of doubled perception and vigilance. These figures usually exhibit the same carved scarification, thick limbs, and darkened surfaces seen in single-headed examples. Some Losso sculptures display subtle gender indicators such as small carved breasts or the addition of beaded adornments. Pieces associated with healing specialists or ritual practitioners may carry traces of materials once attached to them or may show signs of repeated ritual use. The broader environment in which these sculptures developed includes connections to regional spiritual practices related to Vodun, and many figures functioned as intermediaries in protective or curative rites. Because Losso sculpture has not been widely documented in formal academic publications, much of what is known comes from museum catalogues, field reports, and collections established during the twentieth century. Although these sources confirm the ritual significance and stylistic consistency of Losso carving, they leave many aspects of meaning, symbolism, and use open to further investigation. Even with these gaps, Losso statuettes remain an important expression of the spiritual life and artistic vocabulary of northern Togo. References: Proantic catalogue entry Tribal art gallery catalogue. Barnebys auction catalogue. CA29104a Height: 38 cm / 34 cm Weight: 655 g / 720 g