This fragmentary Yoruba equestrian sculpture from Nigeria, collected in the Ekiti region, is most plausibly attributed to Olowe of Ise and is presented on a weathered, eroded wooden base. The rider holds a spear in one hand and a curved knife in the other, flanked by three smaller attendant figures who likely serve as guardians or soldiers. The horse, notable for the loss of one ear, exhibits strong formal affinities with other equestrian works by Olowe, particularly the renowned veranda posts, demonstrating the master’s characteristic articulation of movement and presence. The rider’s face bears distinctive features emblematic of Olowe’s workshop: a gaping lower jaw beneath the so-called “space tooth,” a gently curved nose, and pronounced, forward-projecting eyes. These formal markers suggest the hand of the master himself or, alternatively, a highly skilled assistant within his immediate circle. The dynamic interplay of figure and mount, together with the attendant forms, reflects the integration of narrative, status, and ritual symbolism in Yoruba courtly sculpture, while the physical traces of wear and fragmentation attest to the sculpture’s long history of veneration, display, and exposure within its original cultural context. Olowe of Ise (c. 1873–c. 1938) is widely regarded as one of the greatest Yoruba sculptors of the late 19th and early 20th centuries, whose work exemplifies the flourishing of artistic innovation in the courtly art of southwestern Nigeria. Born in the town of Ise in Ekiti State, Olowe trained in traditional Yoruba carving practices and quickly became renowned for his mastery of wood sculpture, particularly for palace commissions. His reputation extended throughout the Yoruba region, and he was frequently called upon to create altarpieces, veranda posts, doors, and other sculptural ensembles that combined structural ingenuity with narrative vitality. Among his most celebrated contributions are his equestrian sculptures. These horseriders often depict a central figure of high rank, such as a warrior or noble, mounted on a stylized horse and accompanied by smaller attendants, soldiers, or symbolic figures. Olowe’s horses are immediately recognizable for their dynamic poses, pronounced musculature, and intricate detailing, including exaggerated eyes, open mouths, and articulated limbs. Riders frequently display characteristic facial features such as the so-called “space tooth” or widely spaced incisors, prominent noses, and alert, projecting eyes, all hallmarks of Olowe’s workshop. These equestrian sculptures were not purely decorative; they served as status symbols and visual narratives within Yoruba palaces, asserting authority, commemorating deeds, and embodying spiritual and political power. Works such as his veranda posts in Ikere, Efon, and other Ekiti towns reveal his genius for combining architectural function with sculptural expression, producing figures that convey movement, hierarchy, and drama. Olowe’s influence extended to a circle of apprentices and followers, ensuring the persistence of his stylistic vocabulary well into the 20th century. Today, his horseriders are celebrated both for their technical virtuosity and their evocative portrayal of Yoruba courtly life, and they occupy a central place in the study of West African art history.. Henry John Drewal provide key studies on Olowe’s work, situating his veranda posts and equestrian sculptures within Yoruba courtly art. Frank Willett’s African Art (London, 1971) includes discussion of Olowe’s stylistic hallmarks and technical mastery. Henry J. Drewal’s Yoruba: Nine Centuries of African Art and Thought (New York, 1989) examines Olowe’s workshop practices, iconography, and influence on subsequent generations of Yoruba sculptors. Roland L. Adams’ contributions in various exhibition catalogues, including Master Sculptors of the Yoruba: Olowe of Ise (London, 1992), document Olowe’s horseriders and veranda posts with detailed photographs and analysis. Suzanne Preston Blier’s African Vodun: Art, Psychology, and Power (Chicago, 1995) provides contextual background on Yoruba religious and courtly art, including Olowe’s commissions and the social functions of his sculptures. For more detailed discussion of Olowe’s equestrian works, see Philip J. C. Dark, An Introduction to Yoruba Art (Oxford, 1973), which traces the formal characteristics of his horseriders and their narrative roles. Additionally, literature accompanying museum exhibitions, such as the Art of the Yoruba catalogue (Metropolitan Museum of Art, 1989), illustrates the technical sophistication, spatial composition, and dynamic storytelling evident in Olowe’s oeuvre. Pick up in the gallery only.