The present sculptural group, depicting a male and female figure in close physical and formal relationship, invites comparison with a small but significant corpus of paired figures attributed to the artistic traditions of Ile-Ife. A particularly relevant point of reference is the fragmentary example published by Frank Willett in Ife in the History of West African Sculpture, where a comparable grouping, excavated at Ita Yemoo in 1957, is illustrated and discussed. Although that excavated fragment is less iconographically resolved, its archaeological context confirms the existence of paired figural compositions within early Ife sculptural practice and provides an important baseline for comparison. The present work, like the example formerly exhibited by Wolfgang Jaenicke in 2018, is fragmentary, with losses to the lower extremities and a surface marked by layered oxidation. Such condition issues, while visually comparable to excavated material, must be approached cautiously, as fragmentation alone does not establish archaeological origin. Nevertheless, the surviving elements convey a highly structured composition in which two figures are rendered with notable formal balance and conceptual interdependence. The male figure is distinguished by elaborate headgear and the holding of a horn, an attribute widely associated with rulership and ritual authority in Yoruba visual culture. The female figure, equally monumental in conception, carries an object that may be interpreted as a stylized hand or emblem of ritual efficacy. Their juxtaposition, combined with the parity of scale and the symmetry in their adornment, suggests a deliberate articulation of complementary roles rather than a hierarchical or purely narrative relationship. While such pairings have often been interpreted as conjugal representations, a more persuasive reading situates the figures within a framework of institutional authority. In this interpretation, the male figure may be understood as the Ooni, the spiritual and political leader of Ile-Ife, while the female figure embodies a corresponding locus of power within the courtly system. Although the title and precise role of a queen mother figure in Ife differ from the more clearly codified Iyoba institution in the Kingdom of Benin, the broader principle of gendered complementarity in the exercise of authority is well attested across southern Nigerian cultures. A particularly striking feature of the composition is the intertwining of the figures’ lower limbs. This motif, while uncommon, appears to transcend any literal suggestion of intimacy. Instead, it may be interpreted as a visual metaphor for structural interdependence, expressing the inseparability of distinct yet mutually constitutive forms of power. Such a reading aligns with Yoruba conceptions of balance and relationality in the maintenance of social and cosmic order, in which authority is not singular but distributed across complementary domains. The question of dating remains complex. As noted in the broader literature on West African metalwork, including the work of Sylvia Dolz, the establishment of chronology cannot rely on a single line of evidence. Scientific analyses, such as thermoluminescence testing, must be evaluated in conjunction with stylistic and art-historical considerations. In the present case, a reported thermoluminescence result of approximately 310 years before present, with a significant margin of error, would place the object outside the classical floruit of Ife naturalistic sculpture, typically dated between the twelfth and fifteenth centuries. This discrepancy underscores the need for caution in attribution and highlights the possibility that the work may reflect a later continuation, reinterpretation, or regional variation of earlier sculptural traditions. In sum, the sculpture embodies a sophisticated visual language in which authority is conceived as relational, gendered, and ritually grounded. Through its balanced composition, emblematic attributes, and intertwined forms, it articulates a conception of power that is neither singular nor hierarchical but fundamentally dual and interdependent. At the same time, the tensions between archaeological comparanda, stylistic features, and scientific dating situate the work within an ongoing scholarly discourse, in which questions of origin, chronology, and meaning remain open to critical examination References Dolz, Sylvia. Treasures of Africa: Benin – The Donation Baessler. Dresden: Museum of Ethnology, 2006. Jaenicke–Njoya, Catalogue Ci104, object CAB 06943. Willett, Frank. Ife in the History of West African Sculpture. London: Thames and Hudson, 1957. Wolf, Siegfried. Studies on Benin Bronzes and Chronology. Various publications. In the last 15 years we have sold two similar exemplares with different stylistic features, one on the Ife and Benin exhibition six years ago, obviously from the same artist. This exemplare was exhibited on our exhibition 2019 (last photo sequence). This description is made with AI. Despite careful individual review, the use of Artificial Intelligence may result in errors or inaccuracies in the description. Our piece attribution and datation is given by the extent of our knowledge and for reference only. Without TL test, the piece remains subject to authentication. TL Analysis can be made seperately from this offer by request.