A fragmentary bronze in the style of Benin, In the robes of an Oba, striking a gong or bell. The Oba's unusual rectangular crown suggests bronze plaques with a similar depiction of an Oba or a high-ranking figure; condition report: the left foot has a crack and bent upwards, the left arm is slightly warped and has dents. Bronzes in this size are extremly rare. There are examples of this that we have collected in the past. Similar depictions are also documented on Digital Benin. In the robes of an Oba, striking a gong or bell. The Oba's unusual rectangular crown suggests bronze plaques with a similar depiction of an Oba or a high-ranking personality . There are examples of this that we have collected in the past. Similar depictions are also documented on Digital Benin. The scaled dress of the depicted person also appears to be typical of a particular period and style of clothing, although it is not entirely clear whether it is a feather costume or a dress made of scaled metal, as we know it from knight's armor. The same dress on this plaque in the style of the 17/18th century, which we collectef several years ago and were exhibited in oour Ife/ Benin exhibition 2018. Judging by the richness of detail, it is more likely to be a bronze in the style of the 17th century than that of the 18th century (last photo sequence). This bronze representation of an Oba or a high ranking personality is a quintessential example of court art from the Kingdom of Benin, located in present-day southern Nigeria. Created by sp of brass casters (Igun Eronmwon), this work exemplifies the high technical and artistic standards achieved by Benin artists, particularly under royal patronage. The sculpture typically features a stylized yet regal visage with a symmetrical, dignified facial expression. The Oba or high ranking personality is depicted with idealized features—large almond-shaped eyes, high cheekbones, and a serene, unyielding gaze—reflecting divine kingship and spiritual authority. The head is often adorned with an elaborate coral bead crown (odigba) and other regalia symbolizing status, ancestry, and connection to the gods. These heads were not mere portraits but idealized representations used in ancestral altars. The heads served ritual functions, such as offerings and libations, emphasizing continuity, memory, and legitimacy of rule. Benin bronzes, were central to the visual culture of the Benin court. Non-binding TL analysis 300 years, +/-22,9 %. "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.