A PramPram pair Sculpture, Southern Coastal Region, Ghana. A pair of Prampram ritual figurines (from the Dangme/Ga-Adangbe cultural group, which lives in the southeastern coastal region of Ghana). These sculptures, similar to Aklama auxiliary fetishes, are distinguished by a minimalist, slender, and almost abstract aesthetic. The heads form two nearly perfect spheres, which appear imposing in comparison to the slenderness of the rest of the body. The eyes and nose are reduced to small circular holes drilled directly into the material. The two eyes are set close together at the top of the sphere. A single horizontal incised groove marks the bottom of the head, representing a small, slightly parted mouth. A vertical incised line divides the face into two perfect hemispheres, running from the forehead to the chin. The heads are supported by extremely long, slender, and vertical cylindrical necks. The bodies have a streamlined cylindrical silhouette. The arms are fused to the torso and end at the sides in rigid, sharp points pointing downward, with no details of hands or fingers. Small, circular, symmetrical perforations on the upper part of the torso mark the breasts, while a similar hole in the center of the abdomen indicates the navel. The base of the body divides into two short, arched, geometric legs, forming an inverted “V” like a compass, with no depiction of the feet. Both pieces are carved from a light wood with a pale ochre-beige hue, displaying a matte and slightly weathered texture. Each figurine is stabilized vertically by a black metal fastener attached to a contemporary rectangular wooden base painted black. Among the Prampram people of coastal Ghana, paired sculptural figures are associated with local shrine practices and protective ritual contexts. Examples collected in Accra often originate from communities along the eastern coastal corridor where Prampram carving traditions developed in interaction with neighboring Ga and Dangme artistic styles. Prampram couples are typically carved as male and female figures presented as a balanced pair, standing upright with rigid frontal posture and simplified anatomy. Bodies tend to be slender with elongated torsos and relatively long legs, giving the figures a vertical emphasis. Arms are commonly straight or slightly bent and positioned close to the sides. A characteristic regional feature is the strong stylization of the head. Heads are often disproportionately large, with cylindrical or slightly oval forms. Facial features are carved in a restrained manner: eyes and mouth as small holes, the nose as a long and narrow ridge. The figures are usually covered with a natural brownish to occhre patina, sometimes enhanced by ritual substances or oils applied during use. Another recurring trait in Prampram pairs is the clear gender differentiation through minimal attributes: the female figure may display indicated breasts or a slightly wider hip area, while the male figure often appears more linear in body structure. The overall style emphasizes symmetry, verticality, and schematic carving, characteristic of sculptural production in the Prampram coastal region. Herbert M. Cole and Doran H. Ross, The Arts of Ghana (Los Angeles: UCLA Museum of Cultural History, 1977). A foundational survey with important sections on Ga and Adangbe shrine arts, including figural representations and their ritual contexts. Roy Sieber, African Sculpture: The Catalogue of the University Museum, University of Pennsylvania (Philadelphia: University of Pennsylvania Press, 1969). Early canonical classifications and discussions of coastal Ghanaian sculpture, including early documentation of Ga–Adangbe figures. Susan Mullin Vogel, African Aesthetics: The Carlo Monzino Collection (New York: Center for African Art, 1986). Offers interpretive approaches to surface, patina, and the relationship between use and form, applicable to southern Ghanaian works. Barbara Thompson, “The Sign of the Divine: The Aesthetic and Ritual Use of Kaolin in West Africa,” African Arts 26, no. 2 (1993): 56–67. While centered on kaolin, this article provides broader insight into surface treatment and symbolic materials across the region. Rosalind I. J. Hackett, Art and Religion in Africa (London: Cassell, 1996). Contextualizes the role of objects within religious systems, including shrine use among coastal Ghanaian communities. Marion Johnson, “Aspects of the Art of the Ga-Adangbe,” in African Arts 5, no. 2 (1972): 28–33. One of the few focused discussions on Ga–Adangbe artistic production, including figural sculpture and its social meanings. Kwame Amoah Labi, The Art of the Ga and Adangbe Peoples of Ghana (Accra: Institute of African Studies, University of Ghana, 1980). A regionally grounded study inside emphasizing indigenous interpretations of form, function, and symbolism. Some of the information is generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history. M*A*Z*1*6*4*3*9* 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. Height: 57 cm / 52 cm Weight: 1.5 kg / 1.3 kg (incl. stand)