一件青铜雕塑 - 奥贡人 - 尼日利亞 (沒有保留價)

A Ogoni bronze, Rivers State, Nigeria.

Made of bronze from the Ogoni region of the Niger Delta in southeastern Nigeria, this copper alloy statuette depicts a kneeling male figure whose iconography clearly emphasizes status and dignity: the figure, with an elongated torso and narrow shoulders, rests on broad, striated lower sections suggesting either bent legs or ceremonial attire, while the arms—held well away from the body and drawn toward the abdomen—grip several attributes whose precise identification remains uncertain. The face, remarkably individualized, is dominated by large, deeply set almond-shaped eyes, a straight nose, protruding lips, and, above all, a long, tapered beard framed by a second mass of hair or ornamentation that has been carefully incised; above the forehead, two arched motifs correspond to a tall headdress or conical crown organized into horizontal bands of ridges, dots, and geometric panels, topped by a small apical appendage. Beaded or crenellated borders also highlight the shoulders, neck, and clothing, reflecting a preference for repetitive ornamentation and the hierarchical arrangement of surfaces. The dark brown patina, enlivened by significant green and blue-green oxidation, accentuates the depth of the modeling and attests to the material’s age or, at the very least, to a long process of surface evolution of the metal. In documented Ogoni artistic traditions, human representation may be associated with ancestors, titleholders, and various spiritual entities, within a system where sculpture contributes to the materialization of status and the relationships between human society and the invisible world. The monumental nature of the headdress, the beard, the contemplative posture, and the objects held may thus suggest here the idealized representation of a figure of authority or an officiant rather than a portrait in the Western sense; however, caution in attribution is warranted, as leading museum collections primarily document 19th- and 20th-century wooden sculptures and masks from the Ogoni people, and the ethnic and functional identification of a single bronze cannot be established with certainty based solely on stylistic analysis.

Litterature selection

Baquart, Jean-Baptiste. The Tribal Arts of Africa. New York: Thames and Hudson Inc. 1998. Print.
Nwoko, C. (2014). Art, Ritual, and Memory in Ogoni Bronze Work. Journal of African Cultural Studies, 26(1), 78–85.

Some of the information is generated by artificial intelligence and is based on published sources from the fields of ethnography, archaeology, and art history.

Inofrmant: Bakari Bouafle

Inv. No. MAZ21429

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

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