Terracotta Head - Komaland, Northern Ghana. The fragmentarily preserved head, made of reddish-fired terracotta, exerts its powerful, almost archaic effect through its striking modeling. A prominent, protruding mouth with strong lips, the dominant nose, and the three-dimensionally applied eyes define the face. The ears are pierced; on the crown of the head, raised forms converge to suggest a once more complex design. The granular, irregularly weathered surface retains traces of firing and long-term burial. The break at the neck indicates that the head was likely originally part of a larger anthropomorphic figure. The so-called Komaland terracotta figures originate from northern Ghana, particularly from the area around Yikpabongo. Archaeological investigations there have unearthed numerous anthropomorphic and zoomorphic sculptures in association with burial mounds, stone settings, pottery, metal objects, and human remains. Researchers date the Komaland complex differently depending on the context of the finds and the method of investigation. A significant portion of the known terracotta figurines dates back to the second millennium CE. Their precise function remains a subject of scholarly debate. Besides funerary purposes, ritual deposition, healing practices, and shrine activities are considered. Therefore, a direct identification of the archaeological producers with the Koma people living there today is not certain. Literature (selection): James Anquandah: “The Stone Circle Sites of Komaland, Northern Ghana, in West African Archaeology”, African Archaeological Review 5, 1987, pp. 171–180. Franz Kröger: “Die Terrakotta-Funde des Koma-Gebietes (Nordghana)”, Paideuma 34, 1988, pp. 129–142. Hervé Detavernier: “Funerary Terracotta Figurines from Ghana”, 2003. Some of the information is generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history. Inv. No. MAZ24233 "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.