The present s bronze ram head attributed to the Benin artistic sphere from the region of Benin City in the Kingdom of Benin City belongs to the long-established metalworking tradition of the court workshops associated with present-day Edo State. “Village Jebu” suggests either a peripheral circulation context or a later collection attribution, rather than a primary production center, as Benin bronzes are historically rooted in centralized royal and guild-based casting systems. Incl stand. The object takes the form of a ram’s head, a motif that in Benin court art is closely aligned with symbolic strength, authority, and ritual vitality. The modeling typically emphasizes the powerful curvature of the horns, rendered in controlled spiral or arcing forms that frame the head with strong directional movement. The facial structure is compact and solid, reflecting the Benin tradition’s balance between natural observation and formal abstraction. Technically, the sculpture is produced through the lost-wax casting process, characteristic of Benin metalwork. A wax model would have been formed over a clay core, detailed with fine surface modeling, then encased and fired to allow molten bronze or brass to replace the wax. The resulting surface often preserves subtle toolmarks from post-casting finishing, including chasing and polishing that refine the anatomical transitions and horn contours. Surface treatment in such works tends toward a darkened metallic patina, shaped by age, handling, and environmental exposure. In well-preserved examples, contrast between smoother facial planes and more textured horn surfaces remains visible, reinforcing the visual hierarchy of form. Within the Benin artistic system centered on Benin City, animal imagery such as the ram functions as part of a broader visual vocabulary associated with court symbolism and material expressions of status. Even when objects are recorded as coming from outlying villages like Jebu, their stylistic and technical structure typically ties them back to the centralized Benin casting tradition of Edo State. Please note that in absence of laboratory tests, the attribution is provided for reference only, based on our knowledge and experience in the field. Lit.: Bradbury, R. E. (1957). The Benin Kingdom and the Edo-Speaking Peoples of South-Western Nigeria. London: International African Institute. Egharevba, Jacob U. (1960). A Short History of Benin. Ibadan University Press. Eyo, Ekpo (ed.) (1980). Treasures of Ancient Nigeria. Lagos: Nigerian National Museum. Dark, Philip (1973). An Introduction to Benin Art and Technology. Oxford University Press. Neaher, Nancy (1976). The Art of Benin. London: British Museum Publications. Ben-Amos, Paula Girshick (1995). The Art of Benin. London: British Museum Press. Metropolitan Museum of Art (2000). The Art of the Benin Kingdom. New York: MMA Bulletin. Shaw, Thurstan (1970s–1990s excavations at Benin City). Connah, Graham (1975). The Archaeology of Benin. Oxford University Press. Darling, P. J. (1984). “The Technology of Benin Bronze Casting.” African Arts.