A crowned bronze head of Olokun or the wife of an Oni is one of the main questions in discussion of these bronze heads. Condition: The bronze head, with its reddish hue, indicates a high copper content and a lower zinc content. The patina displays various stages of oxidation, conveying an organically grown state and firmly bonded to the original material. Oxidation erosions, especially on the neck Interesting the point of Suzanne Preston-Blier She pinpointed regarding heads variably identified as Olókun or as a queen of the Ooni is methodological and interpretive rather than iconographic. She argues that the naturalistic portraiture of Ife—regardless of whether a head is later labeled as a deity or a royal person—is part of a system in which political authority, religious power, and ancestral legitimacy are inseparable. The realism of the sculpture functions as a medium of royal ideology, conveying legitimacy, sacred authority, and social rank, rather than providing a literal portrait of a single historical individual. For Blier, attempts to identify a head definitively as Olókun or a queen of the Ooni based solely on stylistic features are unreliable. Instead, she emphasizes a multi-layered approach: archaeological context, oral history, ethnographic knowledge, and scientific analyses such as metallurgical study or thermoluminescence dating. These combined forms of evidence offer a more robust understanding of the object’s production, function, and meaning than visual analysis alone. In essence, the point is that the head’s identity—divine, royal, or ancestral—is polyvalent. Its significance lies in its social and ritual role, not in whether it can be conclusively named as Olókun or as a particular Ooni consort. The realism of the Ife head expresses authority, legitimacy, and risk—the “art of risk”—in the interplay between human craftsmanship, divine association, and political power. Suzanne Preston-Blier about Patina Suzanne Preston Blier emphasizes the importance of thermoluminescence analysis and other scientific techniques in the study of Ife bronzes as part of a rigorous, interdisciplinary methodology. She argues that stylistic comparison alone is insufficient to determine age, provenance, or identity, especially given the prevalence of restoration, surface alteration, and the overlapping formal conventions of Ife portraiture. Blier highlights that thermoluminescence dating, metallurgical analysis, and other non-destructive material studies provide objective data on the production techniques, alloy composition, and chronological placement of a sculpture. These analyses are particularly valuable in cases where visual or stylistic evidence is ambiguous or contradictory, such as when a head might represent Olókun or a queen of the Ooni. Her position is that scientific evidence should be interpreted alongside oral traditions, archaeological context, and historical sources. Together, these approaches allow scholars to make more confident assertions about authenticity, production, and use. Scientific analysis, in Blier’s framework, is not used to “prove” iconographic identity per se, but to ground interpretations in verifiable material evidence, reducing speculation that can arise from relying solely on appearance or presumed stylistic parallels. In short, Blier sees thermoluminescence and other material analyses as essential tools for establishing a reliable historical and technical framework for understanding Ife bronzes, particularly when visual assessment or oral traditions alone cannot resolve contested identifications. The seller guarantees and can prove that the object was obtained legally. In absence of test, the attribution is only provided for reference and is subject to authentication. 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. Footnotes 1 Suzanne Preston Blier, Art and Risk in Ancient Yoruba: Ife History, Power, and Identity, c. 1300, Cambridge University Press, 2015, discussion of material and surface evidence. 2 Suzanne Preston Blier, “Ways of Experiencing African Art: The Role of Patina,” in Art of the Senses: The Teel Collection, MFA Publications, 2004. 3 Blier 2015, chapters on production, workshop organization, and methodological considerations. 4 Blier 2004, discussion of sensory engagement, surface traces, and the interpretive importance of patina. The Wolfgang Jaenicke Gallery's budget is limited to conducting thermoluminescence analysis on every bronze wax casting object. We therefore restrict ourselves to sampling and rely on the existing patina, which—prima facie, through magnification—already allows conclusions to be drawn about the age of the objects. It is the responsibility of collectors to contact appropriate laboratories that perform such analyses. We therefore wish to avoid the ongoing debate about whether thermoluminescence analysis yields usable results for bronzes. In Nigeria's National Museum in Lagos we find a terra-cotta head which is called “Lajuwa” Head, found in the Ife Palace, Ile-Ife, The head ... was said to have been kept in the king’s palace. It is called Lajuwa, who is remembered as the usurper who became king when Oni Aworokolokin died (Eyo and Willett 1980, p.103).