A bronze sculpture - Idia - Benin - Nigeria
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Selected by Dimitri André
Holds a postgraduate degree in African studies and 15 years experience in African art.
Estimate € 4,700 - € 5,200
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Bronze sculpture from Nigeria, Benin, depicting Iyoba Idia, titled “A bronze sculpture,” 51 cm high, 8.2 kg, in fair condition and authentic/original.
AI-assisted summary
Description from the seller
This remarkable pair of almost identical cast figures representing the Iyoba Idia constitutes an exceptional survival within the corpus of Benin court art. Both sculptures originate from the same private collection and display such close correspondences in conception, proportions, modelling and detail that they appear to have been conceived as a pair and were very possibly produced within the same workshop, perhaps even by the same highly accomplished caster.
The female figure belongs to the iconographic tradition of the Iyoba, or Queen Mother, one of the most important titleholders at the court of Benin. The institution of the Iyoba is traditionally associated with Idia, mother of Oba Esigie (r. c. 1504–1550), whose political, military and ritual support of her son established her as one of the most celebrated women in the history of the kingdom. Her image subsequently became a prototype for representations of royal motherhood and female authority in Benin court art.
The Iyoba occupied an exceptional position within the political and spiritual hierarchy of the kingdom. Her protection of the person and well-being of the Oba was understood more broadly as contributing to the security, continuity and prosperity of Benin itself. After her death, a commemorative altar was established within the palace, furnished with cast-brass and ivory sculptures through which her memory was perpetuated and ritual communication with the ancestral realm maintained.
The survival of the present figures as a pair is particularly significant. Pairing and symmetrical repetition are well documented within the artistic and ritual traditions of Benin. Philip J. C. Dark noted the pronounced tendency of Benin artists to produce objects in pairs, while the celebrated photograph taken by Cyril Punch in the royal palace in 1891, before the British invasion of 1897, records closely related cast heads and other ritual objects arranged symmetrically upon an ancestral altar.
Such repetition should not necessarily be understood as representing two separate individuals. Within the highly ordered visual language of Benin court art, duplication and symmetry may instead have reinforced the presence, status and ritual potency of the represented figure while establishing the visual equilibrium characteristic of royal altar ensembles.
A particularly important parallel is provided by the celebrated sixteenth-century ivory pendant masks associated with Queen Mother Idia. The example in the Metropolitan Museum of Art, New York, and its almost identical counterpart in the British Museum, London, demonstrate that closely corresponding representations of the Iyoba could indeed be conceived as related royal commissions.
Felicity Bodenstein has further emphasized that the five surviving masks associated with Idia should be understood not simply as independent representations, but as a “multiple”: a group originally conceived to function together and probably produced within the same workshop, perhaps even by the same hand. More broadly, she identifies repetition and the multiplication of closely related models as fundamental characteristics of the commemorative and religious practices of the Benin court.
Seen in this context, the present sculptures acquire an importance extending beyond the individual quality of either figure. Their common provenance and extraordinary formal correspondence preserve evidence of the original logic of repetition, symmetry and ritual amplification that governed the arrangement of sculpture upon Benin royal and ancestral altars.
At the end of the photographic sequence, a Hommage to Paul Delvaux brings the enigmatic pictorial world of the Belgian artist into dialogue with one of the present figures attributed to Iyoba Idia.
The composition draws upon some of the defining motifs of Delvaux’s work: the remote and enigmatic female figure, classical architecture, deserted squares, nocturnal light and the distant steam locomotive. Together, these elements create a suspended realm between dream, memory and reality.
Within this imagined setting, the monumental Benin figure becomes the counterpart to the young woman characteristic of Delvaux’s pictorial universe. Their juxtaposition establishes the central tension of the composition. The young woman is physically present yet psychologically distant and unattainable, an ambiguity fundamental to Delvaux’s representations of women. Opposite her, the Iyoba appears as a concentrated embodiment of dignity, authority and remembrance. Youth and ancestry, desire and authority, transience and permanence are brought into a silent dialogue.
Different historical and cultural temporalities are deliberately interwoven. Classical European architecture, the railway as an emblem of modernity, and the royal imagery of Benin coexist within a single imaginary space. The Hommage is therefore conceived less as a reconstruction of a particular work by Delvaux than as a free continuation of his surrealist method: objects, cultures and historical periods normally separated by geography and time encounter one another within a new poetic reality.
Literature:
Philip J. C. Dark, An Introduction to Benin Art and Technology, Oxford, Clarendon Press, 1973.
Kate Ezra, Royal Art of Benin: The Perls Collection in the Metropolitan Museum of Art, New York, 1992.
Felicity Bodenstein, “Cinq masques de l’Iyoba Idia du royaume de Bénin : vies sociales et trajectoires d’un objet multiple,” Perspective, 2, 2019, pp. 227–238.
The price is without the price for the TL analysis but can be done within four weeks for 350,- Euro.
Some of the information and photos are generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history documents. All information and photos are protected by copyright.
TL Test Kotalla 330 years +/- 18,3 %
one of the identical scultures
Inv. No. MAZ22200
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.
Height: 51 cm / 51 cm
Weight: 4,1 kg / 4,1 kg
Seller's Story
Wolfgang Jaenicke’s engagement with African art did not begin in the field or the marketplace but in a quieter, more inward space—among papers, books, and objects that belonged to his father. The archive on Germany’s former colonies was not arranged to tell a single story; it suggested many. It invited scrutiny rather than reverence, and it taught Jaenicke early on that objects are never mute. They carry time inside them—fracture and continuity held in the same form—and they ask to be read as carefully as texts.
For more than a quarter century, Jaenicke has worked as a collector, dealer, and intermediary, though none of these terms quite captures the shape of his practice. What used to be grouped, too casually, under the heading of “Tribal Art” has never appeared to him as a sealed or historical category. It is, instead, a set of living traditions, constantly negotiating the present. His academic training—in ethnology, art history, and comparative law—provided a grammar. The language itself he learned elsewhere. In Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Togo, and Ghana, knowledge emerged slowly, through repeated encounters that hardened into relationships, and through trust built not all at once but over years.
Mali became the gravitational center of this experience. Between 2002 and 2012, Jaenicke lived and worked in Bamako and Ségou, where he ran Tribalartforum, a gallery overlooking the Niger River. The space resisted easy chronology. Sculptures and ceramics shared the room with photography, and works by Malick Sidibé—images of Malian youth in the 1970s, self-assured and exuberant—hung alongside older ritual forms. The effect was not nostalgic but clarifying: past and present did not cancel each other out; they sharpened one another.
The war of 2012 ended this chapter abruptly, as wars tend to do. But it did not dissolve the work. Together with Aguibou Kamaté, Jaenicke regrouped in Lomé, closer to the places where many of the objects originated and to the routes they continue to travel. Since 2018, Berlin has become another point on this map. Galerie Wolfgang Jaenicke now operates opposite Charlottenburg Palace, supported by a small team of specialists. Its focus rests, in particular, on West African bronzes and terracottas—materials shaped by earth and fire, and by forms of memory that resist easy translation.
What distinguishes Jaenicke’s practice is not only its geographical range but its internal tension. Fieldwork is paired with provenance research; commerce is treated as inseparable from responsibility. In collaboration with museums and scholarly initiatives, circulation is framed not as extraction but as an ethical process that remains unfinished. The aim is not to remove objects from the world and seal them off, but to keep them readable within it—to allow them to continue speaking, even as the conditions of their speech change.
------------
Galerie Wolfgang Jaenicke is a Berlin-based gallery specializing in West African sculpture, bronzes, terracottas, masks, and contemporary African art. It is directed by Wolfgang Jaenicke, whose work combines collecting, dealing, provenance research, fieldwork, and archival documentation.
According to the gallery’s own account, Jaenicke studied ethnology, art history, and comparative law and has worked in the field of African art for more than twenty-five years. His activities developed through long-term engagement in countries including Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Ghana, and Togo. Rather than presenting African art as a closed historical category, he describes it as a continuing cultural tradition shaped by living communities and changing historical contexts.
A particularly important phase of his career was in Mali, where he lived and worked between roughly 2002 and 2012 in Bamako and Ségou. There he operated Tribalartforum, a gallery that combined historical African sculpture with contemporary African photography, including works by Malick Sidibé. The political and military crisis in Mali in 2012 led to the closure of this phase of activity.
Later, together with Aguibou Kamaté, Jaenicke continued working from Lomé, Togo, before establishing a gallery presence in Berlin near Charlottenburg Palace. The gallery places particular emphasis on West African bronzes, terracottas, Benin and Ife-related works, Nok sculpture, Dogon art, Baule sculpture, Senufo objects, and Yoruba material.
One distinctive aspect of Jaenicke’s public position is his repeated emphasis on provenance transparency and restitution debates. On several published object records, the gallery explicitly discusses issues surrounding export documentation, UNESCO conventions, ownership histories, and communication with scholars and restitution researchers. These statements reflect broader contemporary debates about the circulation of African cultural heritage, legality, collecting history, and museum acquisition practices.
The gallery maintains extensive online archives and catalogues documenting hundreds of African objects, including Benin and Ife bronzes, Nok terracottas, Dogon sculptures, Baule figures, Fon objects, Moba figures, and other West African material.
For researchers interested in the history of the African art trade, Jaenicke represents a later generation of dealers compared with figures such as John J. Klejman. Whereas Klejman belonged to the postwar New York market of the 1950s–1970s, Jaenicke’s work has been shaped by contemporary concerns with field documentation, provenance research, restitution discussions, digital archives, and direct engagement with West African networks and artists.
This text is based on AI Information
This remarkable pair of almost identical cast figures representing the Iyoba Idia constitutes an exceptional survival within the corpus of Benin court art. Both sculptures originate from the same private collection and display such close correspondences in conception, proportions, modelling and detail that they appear to have been conceived as a pair and were very possibly produced within the same workshop, perhaps even by the same highly accomplished caster.
The female figure belongs to the iconographic tradition of the Iyoba, or Queen Mother, one of the most important titleholders at the court of Benin. The institution of the Iyoba is traditionally associated with Idia, mother of Oba Esigie (r. c. 1504–1550), whose political, military and ritual support of her son established her as one of the most celebrated women in the history of the kingdom. Her image subsequently became a prototype for representations of royal motherhood and female authority in Benin court art.
The Iyoba occupied an exceptional position within the political and spiritual hierarchy of the kingdom. Her protection of the person and well-being of the Oba was understood more broadly as contributing to the security, continuity and prosperity of Benin itself. After her death, a commemorative altar was established within the palace, furnished with cast-brass and ivory sculptures through which her memory was perpetuated and ritual communication with the ancestral realm maintained.
The survival of the present figures as a pair is particularly significant. Pairing and symmetrical repetition are well documented within the artistic and ritual traditions of Benin. Philip J. C. Dark noted the pronounced tendency of Benin artists to produce objects in pairs, while the celebrated photograph taken by Cyril Punch in the royal palace in 1891, before the British invasion of 1897, records closely related cast heads and other ritual objects arranged symmetrically upon an ancestral altar.
Such repetition should not necessarily be understood as representing two separate individuals. Within the highly ordered visual language of Benin court art, duplication and symmetry may instead have reinforced the presence, status and ritual potency of the represented figure while establishing the visual equilibrium characteristic of royal altar ensembles.
A particularly important parallel is provided by the celebrated sixteenth-century ivory pendant masks associated with Queen Mother Idia. The example in the Metropolitan Museum of Art, New York, and its almost identical counterpart in the British Museum, London, demonstrate that closely corresponding representations of the Iyoba could indeed be conceived as related royal commissions.
Felicity Bodenstein has further emphasized that the five surviving masks associated with Idia should be understood not simply as independent representations, but as a “multiple”: a group originally conceived to function together and probably produced within the same workshop, perhaps even by the same hand. More broadly, she identifies repetition and the multiplication of closely related models as fundamental characteristics of the commemorative and religious practices of the Benin court.
Seen in this context, the present sculptures acquire an importance extending beyond the individual quality of either figure. Their common provenance and extraordinary formal correspondence preserve evidence of the original logic of repetition, symmetry and ritual amplification that governed the arrangement of sculpture upon Benin royal and ancestral altars.
At the end of the photographic sequence, a Hommage to Paul Delvaux brings the enigmatic pictorial world of the Belgian artist into dialogue with one of the present figures attributed to Iyoba Idia.
The composition draws upon some of the defining motifs of Delvaux’s work: the remote and enigmatic female figure, classical architecture, deserted squares, nocturnal light and the distant steam locomotive. Together, these elements create a suspended realm between dream, memory and reality.
Within this imagined setting, the monumental Benin figure becomes the counterpart to the young woman characteristic of Delvaux’s pictorial universe. Their juxtaposition establishes the central tension of the composition. The young woman is physically present yet psychologically distant and unattainable, an ambiguity fundamental to Delvaux’s representations of women. Opposite her, the Iyoba appears as a concentrated embodiment of dignity, authority and remembrance. Youth and ancestry, desire and authority, transience and permanence are brought into a silent dialogue.
Different historical and cultural temporalities are deliberately interwoven. Classical European architecture, the railway as an emblem of modernity, and the royal imagery of Benin coexist within a single imaginary space. The Hommage is therefore conceived less as a reconstruction of a particular work by Delvaux than as a free continuation of his surrealist method: objects, cultures and historical periods normally separated by geography and time encounter one another within a new poetic reality.
Literature:
Philip J. C. Dark, An Introduction to Benin Art and Technology, Oxford, Clarendon Press, 1973.
Kate Ezra, Royal Art of Benin: The Perls Collection in the Metropolitan Museum of Art, New York, 1992.
Felicity Bodenstein, “Cinq masques de l’Iyoba Idia du royaume de Bénin : vies sociales et trajectoires d’un objet multiple,” Perspective, 2, 2019, pp. 227–238.
The price is without the price for the TL analysis but can be done within four weeks for 350,- Euro.
Some of the information and photos are generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history documents. All information and photos are protected by copyright.
TL Test Kotalla 330 years +/- 18,3 %
one of the identical scultures
Inv. No. MAZ22200
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.
Height: 51 cm / 51 cm
Weight: 4,1 kg / 4,1 kg
Seller's Story
Wolfgang Jaenicke’s engagement with African art did not begin in the field or the marketplace but in a quieter, more inward space—among papers, books, and objects that belonged to his father. The archive on Germany’s former colonies was not arranged to tell a single story; it suggested many. It invited scrutiny rather than reverence, and it taught Jaenicke early on that objects are never mute. They carry time inside them—fracture and continuity held in the same form—and they ask to be read as carefully as texts.
For more than a quarter century, Jaenicke has worked as a collector, dealer, and intermediary, though none of these terms quite captures the shape of his practice. What used to be grouped, too casually, under the heading of “Tribal Art” has never appeared to him as a sealed or historical category. It is, instead, a set of living traditions, constantly negotiating the present. His academic training—in ethnology, art history, and comparative law—provided a grammar. The language itself he learned elsewhere. In Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Togo, and Ghana, knowledge emerged slowly, through repeated encounters that hardened into relationships, and through trust built not all at once but over years.
Mali became the gravitational center of this experience. Between 2002 and 2012, Jaenicke lived and worked in Bamako and Ségou, where he ran Tribalartforum, a gallery overlooking the Niger River. The space resisted easy chronology. Sculptures and ceramics shared the room with photography, and works by Malick Sidibé—images of Malian youth in the 1970s, self-assured and exuberant—hung alongside older ritual forms. The effect was not nostalgic but clarifying: past and present did not cancel each other out; they sharpened one another.
The war of 2012 ended this chapter abruptly, as wars tend to do. But it did not dissolve the work. Together with Aguibou Kamaté, Jaenicke regrouped in Lomé, closer to the places where many of the objects originated and to the routes they continue to travel. Since 2018, Berlin has become another point on this map. Galerie Wolfgang Jaenicke now operates opposite Charlottenburg Palace, supported by a small team of specialists. Its focus rests, in particular, on West African bronzes and terracottas—materials shaped by earth and fire, and by forms of memory that resist easy translation.
What distinguishes Jaenicke’s practice is not only its geographical range but its internal tension. Fieldwork is paired with provenance research; commerce is treated as inseparable from responsibility. In collaboration with museums and scholarly initiatives, circulation is framed not as extraction but as an ethical process that remains unfinished. The aim is not to remove objects from the world and seal them off, but to keep them readable within it—to allow them to continue speaking, even as the conditions of their speech change.
------------
Galerie Wolfgang Jaenicke is a Berlin-based gallery specializing in West African sculpture, bronzes, terracottas, masks, and contemporary African art. It is directed by Wolfgang Jaenicke, whose work combines collecting, dealing, provenance research, fieldwork, and archival documentation.
According to the gallery’s own account, Jaenicke studied ethnology, art history, and comparative law and has worked in the field of African art for more than twenty-five years. His activities developed through long-term engagement in countries including Mali, Cameroon, Côte d’Ivoire, Burkina Faso, Ghana, and Togo. Rather than presenting African art as a closed historical category, he describes it as a continuing cultural tradition shaped by living communities and changing historical contexts.
A particularly important phase of his career was in Mali, where he lived and worked between roughly 2002 and 2012 in Bamako and Ségou. There he operated Tribalartforum, a gallery that combined historical African sculpture with contemporary African photography, including works by Malick Sidibé. The political and military crisis in Mali in 2012 led to the closure of this phase of activity.
Later, together with Aguibou Kamaté, Jaenicke continued working from Lomé, Togo, before establishing a gallery presence in Berlin near Charlottenburg Palace. The gallery places particular emphasis on West African bronzes, terracottas, Benin and Ife-related works, Nok sculpture, Dogon art, Baule sculpture, Senufo objects, and Yoruba material.
One distinctive aspect of Jaenicke’s public position is his repeated emphasis on provenance transparency and restitution debates. On several published object records, the gallery explicitly discusses issues surrounding export documentation, UNESCO conventions, ownership histories, and communication with scholars and restitution researchers. These statements reflect broader contemporary debates about the circulation of African cultural heritage, legality, collecting history, and museum acquisition practices.
The gallery maintains extensive online archives and catalogues documenting hundreds of African objects, including Benin and Ife bronzes, Nok terracottas, Dogon sculptures, Baule figures, Fon objects, Moba figures, and other West African material.
For researchers interested in the history of the African art trade, Jaenicke represents a later generation of dealers compared with figures such as John J. Klejman. Whereas Klejman belonged to the postwar New York market of the 1950s–1970s, Jaenicke’s work has been shaped by contemporary concerns with field documentation, provenance research, restitution discussions, digital archives, and direct engagement with West African networks and artists.
This text is based on AI Information
Details
Indigenous object name
Idia
Ethnic group/ culture
Benin
Country of Origin
Nigeria
Material
Bronze
Sold with stand
No
Condition
Fair condition
Title of artwork
A bronze sculpture
Height
51 cm
Weight
8.2 kg
Authenticity
Original/official
Sold by
GermanyVerified
protop
Rechtliche Informationen des Verkäufers
- Unternehmen:
- Jaenicke Njoya GmbH
- Repräsentant:
- Wolfgang Jaenicke
- Adresse:
- Jaenicke Njoya GmbH
Klausenerplatz 7
14059 Berlin
GERMANY - Telefonnummer:
- +493033951033
- Email:
- w.jaenicke@jaenicke-njoya.com
- USt-IdNr.:
- DE241193499
AGB
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