A Bronze head in the Ife style, from the Benin City region, Nigeria. This copper alloy head, attributed to the Ife tradition, features an ovoid face with balanced proportions, characterized by almond-shaped eyes, a straight nose, and carefully modeled full lips. The surface treatment is dominated by fine vertical striations covering the forehead, cheeks, and chin, a feature characteristic of several Ife metal portraits and often interpreted as evoking scarification or ritual facial treatment. The openwork ears, the cylindrical base of the neck, and the hollow construction of the head demonstrate a high level of skill in lost-wax casting, while the variations in brown, reddish, and greenish patina reveal the metal's long history of deterioration. From an anthropological perspective, the controlled naturalism of the portrait, combined with a calm and hieratic expression, suggests less an individual representation in the modern sense than a socially codified image of dignity, power, and identity. In the historical context of Ife, an important political and religious center of the medieval Yoruba world, such metal effigies are generally associated with royal and ceremonial circles, where the representation of the head occupied a major place in the conception of the person, authority, and ancestral memory. The portrait is of a relative youthful man. It is calm and dignified with the mouth shut. It is particularly engaging - in quality and appearance, and with deep serenity. Art-historical importance of this piece lies in its highly developed and distinctive sculptural style, in the tension between realism and abstraction. On one side it is naturalistic, portrait-like and on the other side it is classical and timeless, it is an idealized naturalism. Lit.: Bronzes and Terra-Cottas from Ile-Ife, H. Meyerowitz and V. Meyerowitz, The Burlington Magazine for Connoisseurs. Arts de L'Afrique Noire, Jean Laude, translated by Jean Decock, University of California Press Berkeley, 1966, 1. Paperback-Edition 1973. 2000 ans d’histoire africaine. Le sol, la parole et l’écrit. Mélanges en hommage à Raymond Mauny. Tome I. Paris : Société française d'histoire d'outre-mer. Ife and Raymond Mauny, by Thurstan Shaw, 1981. 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, 340 Years +/- 23,3 % Inv. No. MAZ21681 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