A fragmentary terracotta sculpture, in the style of Nok, Nigeria, Kaduna region, broken in half at the waist, the fragments are partly full of earth. The Nok terracotta sculptures, dating from approximately 1500 BCE to 500 CE, represent some of the earliest known examples of figurative art in sub-Saharan Africa and are celebrated for their technical sophistication and expressive detail. Characterized by stylized human figures with elaborate hairstyles, triangular eyes, and intricate ornamentation, these sculptures are believed to have held ritual or symbolic significance, possibly linked to ancestor worship or social hierarchy. Discovered in central Nigeria in the 1920s, the Nok artifacts also indicate early iron smelting, suggesting a complex and technologically advanced society . Despite the cultural importance of these works, looting and lack of systematic archaeological excavation have obscured much of their historical context, though their stylistic influence is evident in later West African art traditions such as those of Ife and Benin. The exact function of Nok terracotta sculptures remains speculative due to the absence of written records. However, their careful craftsmanship and consistent stylistic motifs imply significant cultural meaning. Scholars suggest they may have served as ancestor figures, grave markers, ritual objects, or even representations of social status or profession. Their burial in house floors and along with other grave goods suggests an association with funerary or spiritual practices. Moreover, the depiction of illness or deformity in some figures may indicate an interest in healing or protective rituals. Others argue that the prominent placement of figures and their idealized features suggest a commemorative or didactic role, possibly linked to oral traditions and communal memory. As art historian Ekpo Eyo has noted, “The Nok culture is significant not only for its terracottas, which are the earliest known sculptures in sub-Saharan Africa, but also for what it tells us about early technological and artistic achievements in West Africa” (Eyo, 1977). Fagg, Bernard. Nok Terracottas. Nigeria Museum, 1977. Breunig, Peter. "Nok: Cultural Flourishing in Central Nigeria." Antiquity, vol. 87, no. 338, 2013, pp. 840–853. Willet, Frank. African Art: An Introduction. Thames & Hudson, 2002 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. Non-binding TL Analysis on request, 350,- Euro extra CAB20073 Height: 77.3 cm of the whole sculpture