This Oba altar figure represents a male royal figure or the Oba itself, produced by an unidentified workshop of the Bronze Casters’ Guild at Igun Eronmwon, a community historically associated with the production of Benin bronzes in present-day Nigeria. The figure is depicted standing upright, with frontal symmetry characteristic of courtly Benin representations. The posture conveys authority and permanence, as expected for objects associated with ancestral veneration. The figure’s head is proportionally large, with a high forehead, prominent eyes, and carefully modeled facial features, including a broad nose and full lips, conveying both individuality and idealized royal presence. The hair or headdress is elaborately rendered, consistent with courtly hairstyles or regalia that signify Oba status. The figure is richly adorned with regalia that signify rank and ritual function. Necklaces, armlets, and bracelets indicate courtly authority, while additional elements such as the presence of ritual objects in the hands or attached to the body suggest its use as an altar figure in commemorative or ceremonial contexts. The figure’s proportions, posture, and ornamentation follow the conventions of the Igun Eronmwon bronze casters, emphasizing continuity of stylistic and symbolic conventions within the guild. The surface exhibits the characteristic patina of Benin bronzes, with traces of oxidation and handling, indicating ritual use or long-term veneration. These altar figures were produced to honor past Obas and serve as a focus for offerings, divination, and the performance of court rituals. The combination of naturalistic modeling, symbolic exaggeration, and detailed ornamentation reflects both the technical mastery of the casters and the spiritual and political authority of the Oba. Comparative study of altar figures from Igun Eronmwon reveals consistent visual patterns: figures are typically upright, frontal, and symmetrical, with high foreheads, pronounced facial features, and detailed representation of regalia. Variations occur in scale, objects held, and specific stylistic motifs that may indicate particular workshops or periods, but the overall program emphasizes authority, continuity, and ritual function. This figure, like others of its type, illustrates the integration of aesthetic refinement, political ideology, and ritual practice in the material culture of the Benin court. Drewal, H. J., & Mason, J. (1998). Beads, Body, and Soul: Art and Light in the Yoruba and Benin Kingdoms. Los Angeles: UCLA Fowler Museum. Mason, J. (1982). Benin Art: A Study of Form and Meaning. New York: African Studies Center, Boston University. Ekpo, A. (1995). The Benin Bronze Casters and Court Ritual. African Arts, 28(2), 52–63. Phillips, T. (1993). Royal Ancestral Figures of Benin: Function and Form. London: British Museum Press. CAB41097