An Akan neck rest of Ghana or Ivory Coast, fine, brownish patina with geometric patterns on the sides and a bird's head as handle. Akan neckrests, primarily produced by the Akan peoples of southern Ghana and eastern Côte d’Ivoire, functioned both practically and symbolically. Practically, they served as supports for the head during sleep, keeping elaborate hairstyles intact and providing comfort on hard sleeping surfaces. The curved wooden form allowed the neck to rest without compressing the hair, reflecting the cultural importance of personal grooming and aesthetic presentation. Symbolically, neckrests carried social and spiritual significance. They were often carved with anthropomorphic or zoomorphic motifs, connecting the owner to protective spirits, ancestors, or emblematic animals. Some neckrests functioned as status symbols, signaling the wealth, rank, or identity of the owner, and could be included in funerary contexts to accompany the deceased. In addition, the carvings sometimes encoded proverbs, historical narratives, or ethical values, transforming an everyday object into a medium of cultural memory and moral instruction. In Akan visual culture, the interplay of functionality and symbolism in neckrests illustrates a broader principle: utilitarian objects frequently served as vehicles for social communication, spiritual protection, and artistic expression. "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. CAB25785