A couple of Bronze Leopards, in the style of Benin, Nigeria, signs of age and unprofessional repairs, which were sometimes made even before colonial times using traditional techniques by local craftsmen. The Benin Bronze leopards are royal artworks from the Kingdom of Benin located in what is now Nigeria They were crafted from brass or bronze by highly skilled guild artists during the height of the Benin Empire between the 15th and 17th centuries Leopards held great symbolic significance in Benin culture representing power authority and the divine nature of the Oba the king of Benin The Oba was often associated with the leopard as a spiritual and political figure combining human and animal strength These bronze sculptures were used as royal emblems displayed in the palace and sometimes used in rituals They often show detailed muscular forms and expressive features showcasing the technical mastery of Benin metalworkers "The oba of Benin is a sacred monarch, a living link to the powerful realm of ancestors and deities. He is considered to be beyond the needs and restraints that limit humankind, such as eating, sleeping, illness, and even death. The oba is referred to metaphorically as "the leopard of the hosue" and images of the beautiful, cunning, and immensely dangerous cat appear frequently in Benin’s royal arts. Before the British invasion in 1897, domesticated leopards were kept in the palace to demonstrate the oba’s mastery over the wilderness.Leopard imageryis also frequently linked to the oba’s military might. The oba’s divine right to rule is reiterated in his regalia. His coralcrowns, shirts, aprons, necklaces, and accessories refer to those that Oba Ewuare is said to have stolen from Olokun, the god of the waters and prosperity. Coral and red stones such as jasper and agate are also filled with supernatural energy, or ase, as are elephant ivory and brass two other valuable materials that the oba has historically controlled. Despite his divine status, the oba cannot rule alone. He must rely on others to fulfill his destiny, a dependence that is physically expressed when he walks or sits with his arms supported at the elbows and wrists by attendants. They help him bear the weight of his regalia, a constant reminder of the burden of kingship" Source: The Art Institute of Chicago sold "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. Height: 64 cm / 66 cm Length: 88 cm / 60 cm Weight: 25,5 kg / 24 kg