A Losso couple, Togo, Northern region. Glossy patina; signs of ritual use and age. Losso sculpture refers to the carved wooden figures created by the Losso, also known as Lamba or Nawdba, who live mainly in the northern regions of Togo around the area of Kara. These sculptures are typically carved from dense, dark hardwoods and are known for their compact, sturdy proportions. The bodies are usually cylindrical or slightly tapering, with short, powerful legs and simplified heads that emphasize presence and solidity rather than anatomical realism. The overall visual character is one of restraint and mass rather than intricate detail. These figures have strong ritual associations. Many served as protective fetishes kept in domestic or communal shrines, sometimes placed in granaries or animal enclosures to guard against misfortune or malevolent forces. Surface markings such as carved scarification patterns, incised geometric motifs, and notched features are common. The eyes are sometimes drilled or deeply incised, giving the face an intense, watchful expression. The patina often appears dark and worn, the result of long-term ritual handling, smoke exposure, or libations. Among the notable forms within Losso sculpture are two-headed figures carved with a single body supporting paired heads. Such works are rare and considered powerful objects within their cultural context. Their dual structure is often interpreted as a representation of heightened spiritual potency or a symbolic expression of doubled perception and vigilance. These figures usually exhibit the same carved scarification, thick limbs, and darkened surfaces seen in single-headed examples. Some Losso sculptures display subtle gender indicators such as small carved breasts or the addition of beaded adornments. Pieces associated with healing specialists or ritual practitioners may carry traces of materials once attached to them or may show signs of repeated ritual use. The broader environment in which these sculptures developed includes connections to regional spiritual practices related to Vodun, and many figures functioned as intermediaries in protective or curative rites. Because Losso sculpture has not been widely documented in formal academic publications, much of what is known comes from museum catalogues, field reports, and collections established during the twentieth century. Although these sources confirm the ritual significance and stylistic consistency of Losso carving, they leave many aspects of meaning, symbolism, and use open to further investigation. Even with these gaps, Losso statuettes remain an important expression of the spiritual life and artistic vocabulary of northern Togo. References Proantic catalogue entry describing a two-headed Losso statuette Tribal art gallery catalogue describing Losso protective figures with scarification Bruno Mignot gallery catalogue describing Losso ritual statuettes Barnebys auction catalogue for a Losso carved wooden figure Alyes tribal art auction catalogue describing a Losso figure from a healer Amazigh Ethnic Jewelry collection description of a Losso figure from Togo CAB23607 "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: 31 cm / 29 cm Weight: 780 g / 630 g