A plaque of an Oba or an Ìyàsẹ́ a Royal Commander, in the style of Benin, Nigeria. Oxidized patina, signs of use and age. This bronze plaque, created in the courtly style of the Benin Kingdom (Edo people, southern Nigeria), depicts either an Oba (divine king) or an Ìyàsẹ́ (royal commander), each a principal figure in the ceremonial and administrative life of the royal palace. To determine the subject, attention must be paid to iconographic details that reflect the distinct roles and visual hierarchies encoded within Benin court art. In representations of the Oba, the figure is often central and disproportionately large compared to surrounding figures, a formal device signifying spiritual authority and political supremacy. The Oba is richly adorned with layers of coral bead regalia — including a beaded crown (okpoho), elaborate chest ornament (egben'yo), and heavy necklaces and anklets — symbols of divine kingship and control over sacred materials. The Oba frequently holds a ceremonial sword (eben) or sits beneath a parasol held by an attendant, reinforcing his transcendental status. In contrast, depictions of the Ìyàsẹ́, though also elaborately dressed, present a more militaristic or administrative character. As the senior war chief and political advisor, the Ìyàsẹ́ may be shown in action — pointing, leading troops, or holding a staff of office. Coral adornments are still present, though they appear in lesser density and arrangement compared to the Oba, indicating his subordinate yet essential role within the palace hierarchy. His figure may appear among a group, rather than in a commanding central position, and is typically portrayed with less symmetry and formality than that of the Oba. Stylistically, both figures are rendered in high relief, with defined facial features and patterned attire, consistent with 16th–18th century court commissions. Such plaques were originally affixed to palace walls, forming a visual archive of royal authority, courtly roles, and ancestral legitimacy. This dichotomy between the Oba and the Ìyàsẹ́ reflects not only their political distinctions but also the Benin concept of ase (authority) and ehi (spiritual destiny), where each figure’s status is mirrored in the materials, scale, and gestures employed by the bronze casters of the royal guild. Ezra, Kate. Royal Art of Benin: The Perls Collection in the Metropolitan Museum of Art. Metropolitan Museum of Art, 1992. Ben-Amos, Paula. The Art of Benin. Thames and Hudson, 1980. Dark, Philip J.C. An Introduction to Benin Art and Technology. Clarendon Press, 1973. Gallwey, Henry. “Some Notes on Benin Art and Its Symbolism.” Journal of African History, vol. 12, no. 2, 1971. Plankensteiner, Barbara, ed. Benin: Kings and Rituals — Court Arts from Nigeria. Museum für Völkerkunde, 2007. Abiodun, Rowland. Yoruba Art and Language: Seeking the African in African Art. Cambridge University Press, 2014. "I believe that the import of all art objects from Africa—whether copies or originals—should be prohibited to protect Africa." Quote: Prof. Dr. Viola König, former director of the Ethnological Museum of Berlin, now HUMBOLDTFORUM Legal Framework Under the 1970 UNESCO Convention in combination with the Kulturgutschutz Gesetz (KGSG) any claim for the restitution of cultural property becomes time-barred three years after the competent authorities of the State of origin obtain knowledge of the object’s location and the identity of its possessor. All bronzes and terracotta items offered have been publicly exhibited in Wolfgang Jaenicke Gallery since 2001. Organisations such as DIGITAL BENIN and academic institutions such as the Technical University of Berlin, which have been intensively involved in restitution-reseaches (translocation-project) over the past seven years, are aware of our work, have inspected large parts of our collection and have visited us in our dependance in Lomé, Togo, among other places, to learn about the international Art trade on site. Furthermore, the National Commission for Museums and Monuments (NCMM) in Abuja, Nigeria, has been informed about our collection. In no case in the past have there been restitution claims against private institutions such as the Wolfgang Jaenicke Gallery Our Gallery addresses these structural challenges through a policy of maximum transparency and documentation. Should any questions or uncertainties arise, we invite you to contact us. Each matter will be reviewed diligently using all available resources.