This female bronze from the Tada tradition of Nigeria represents a central example of early modern Nupe metalworking. The standing figure rests on a flat base and is distinguished by relatively large feet, strong legs, a rounded abdomen, and small but heavy breasts. The arms are bent at the elbows, and the left hand holds an object whose specific function remains unknown. Metal bracelets adorn the wrists, and a structured metal collar encircles the neck. The head displays a high, childlike forehead, heavy-lidded eyes, a small broad nose, and full, slightly parted lips. The conical hairstyle bends forward, in a manner characteristic of Tada representations. The surface bears an oxidized patina, with minor damage to the feet and traces of greenish encrustation, indicating age and long-term use, possibly in ritual contexts. [Letztes Bild: Tada Bronze, Nigeria, Kunstsammlungen der Ruhr-Universität Bochum.] Tada bronzes combine naturalistic bodily forms with stylized symbolic elements. The pronounced belly and breasts signal fertility and corporeal presence, while the large feet and sturdy legs convey stability and grounding. The figure’s posture and the held object suggest ritual or representational significance. These bronzes were typically produced using the lost-wax casting technique, demonstrating technical skill alongside their symbolic function. Female figures of this type are closely linked to the founding narratives of the Tsoede Kingdom. Tsoede is regarded as a legendary founder-king who unified Nupe communities and established political and ritual structures. Within this framework, female bronzes likely served as ancestral representations, ritual intermediaries, or symbols of fertility and dynastic continuity. The object held in the left hand, though undeciphered, may have conveyed ritual authority or mythological significance. The figure’s corporeal presence, ornamentation, and typological features emphasize social and spiritual function rather than purely decorative intent. [Tada Skulpturengalerie Wolfgang Jaenicke ...sammelten wir in den letzten 20 Jahren (Penultimate photo sequence).] Comparative examination of Tada female bronzes reveals consistent typological and stylistic patterns. Figures are generally depicted standing with large feet and robust legs, highlighting stability and grounded presence, while the rounded abdomen and small, heavy breasts symbolize fertility and corporeal strength. Arms are commonly bent, and hands may hold objects of undetermined ritual significance. Decorative elements such as collars, bracelets, and conical forward-bent hairstyles recur, signaling social status, ceremonial function, or affiliation with ritual practice. Facial features tend toward symbolic idealization, including high foreheads, heavy-lidded eyes, broad noses, and full lips. Variations between individual sculptures are mainly observed in the treatment of held objects, differences in patina or surface oxidation, and minor formal deviations reflecting workshop practices or chronological development. Together, these features create a coherent visual language that conveys fertility, authority, and spiritual significance, situating Tada female bronzes as central to Nupe artistic, political, and ritual expression. Zwei weitere Tada-Skulpturen im gleichen Stil... (last photo sequence). Overall, this sculpture exemplifies the interplay between technical skill, aesthetic convention, and ritualized symbolism characteristic of Tada bronzes. Its form and iconography make it a key document for understanding the cultural, political, and spiritual dimensions of early Nupe society and the legacy of the Tsoede Kingdom. Blackwood, E., & Fagg, W. (1966). Nigerian Brass Sculpture: Tada, Igbo-Ukwu, Benin. London: Faber and Faber. Fagg, W. (1977). West African Bronze Casting: The Yoruba and the Tada. London: British Museum Press. Stone, P. (1993). Metalwork and Memory in the Nupe Kingdom. African Arts, 26(4), 36–47. Willett, F. (1967). African Art and Ritual. London: Thames & Hudson. CAB41077