The pared-down aesthetic of this Losso bone sculpture from northern Togo reflects a conceptual approach to imagery in which symbolic condensation deliberately supersedes naturalistic representation. The angular head, shaped almost like a helmet, forms the visual focal point of the standing figure. Elongated, recessed eyes sit beneath a narrow forehead, while the bridge of the nose emerges directly from the hairline, structuring the face along a strict vertical axis. An elliptical protrusion beneath the nose—featuring two pierced nostrils—and a merely incised mouth reinforce the figure's restrained, contemplative expression. Elongated oval indentations on the sides indicate the ears. Geometric ornamentation defines the upper body. A raised, knob-like navel forms the center of a composition comprising three horizontal grooves and two incised triangles—one above and one below—with their points facing away from the navel. The same motif appears on the back, minus the raised central point, underscoring the sculpture's balanced symmetry. The complete absence of arms is striking. The torso transitions directly into a ring-like hip section, from which emerge two short, slender legs featuring ring-like anklets; these lead into a flat base without distinctively carved feet. Such bone sculptures are attributed to the Losso (Naudeba) people of northern Togo and likely served as personal protective or ancestral objects within domestic and ritual contexts. Their abstract design emphasizes spiritual presence and the object's efficacy rather than individuality. Traces of wear, fine cracks, and the aged surface attest to prolonged use and lend the sculpture its historical authenticity. The Losso (Naudeba) inhabit the mountainous regions of northern Togo and belong culturally to the Gur-speaking region of West Africa. Small-scale bone sculptures rank among the rare material vestiges of their ritual art. Their strictly geometric formal language is closely linked to the neighboring traditions of the Moba, Konkomba, and Lamba, yet possesses a distinctive quality of reduction and iconographic clarity. Selected Bibliography Roy, Christopher D.: Art of the Upper Volta Rivers. University of Iowa Museum of Art, Iowa City, 1987. Neyt, François: Arts et Civilisations d'Afrique. Éditions de la Renaissance du Livre, Tournai, 2008. Kerchache, Jacques; Paudrat, Jean-Louis; Stephan, Lucien: L'Art africain. Mazenod, Paris, 1988. Meyer, Piet & Schädler, Karl-Ferdinand: Afrikanische Kunst in deutschen Privatsammlungen. Munich, 1981. Fischer, Eberhard & Homberger, Lorenz (eds.): Afrikanische Meisterwerke aus Schweizer Sammlungen. Museum Rietberg, Zurich, 1991. Informant Bakari Bouaflé M/A/Z/1/7/4/9/5/ The seller guarantees and can prove that the object was obtained legally. The seller was informed by Catawiki that they had to provide the documentation required by the laws and regulations in their country of residence. The seller guarantees and is entitled to sell/export this object. The seller will provide all provenance information known about the object to the buyer. The seller ensures that any necessary permits are/will be arranged. The seller will inform the buyer immediately about any delays in obtaining such permits.