Provenance

1 events

Restitution

October 11, 2022

The object was restituted by the Smithsonian National Museum of African Art to the Omo n'Oba n'Edo Uku Akpolokpolo, Ọba of Benin & National Commission for Museums and Monuments, Nigeria from Washington, D.C. to Nigeria.

Institution data

Smithsonian National Museum of African Art

The data was downloaded via a public data access of the institution.

Last updated: 2021-03-05

Language: english

Institution field	Value
Object number object id	82-5-2
Type object type	Sculpture
Object Name designation object type	Commemorative trophy head
Date date made	Late 15th-early 16th century
Label Text	The rulers of the ancient Benin Kingdom exercised a monopoly over the use of copper alloy, and the majority of sculptures made of it once were displayed within the palace--atop altars, attached to piers or as regalia. Coral beads were a similar royal prerogative, worn as crown jewels and allocated to others in the court. This representation of a male head with beads totally covering the neck would seem to have a royal association, but the tight-fitting collar differs from the looser style shown on images of Benin kings. The substitution of an elaborate but unadorned hairstyle for a beaded crown also separates this individual from Benin royals. This style of head is probably a trophy head representing a powerful defeated enemy. A foreigner is suggested by the four raised scars over each eye, which are generally explained as denoting someone who is not Edo; most depictions of Edo men show three scars over each eye. This identification is in keeping with present oral tradition maintained by a chief of the Benin casters' guild, who avows that his guild cast trophy heads of the most stubborn defeated enemies. Iron inlay in the eyes and forehead signifies strength of character, just as the English cliché "steely eyes" denotes determination or a "furrowed brow" signifies deep thought. The depiction of a worthy, yet beaten, enemy reinforces belief in the awesome magical and military powers of the Benin king. He triumphs where ordinary beings would fail.
Label Text	This piece displays the caster's technical skill in the lost-wax method as shown by its uniform thickness, the clear detailing of the hair and beads, and a general absence of casting flaws such as cracks, holes or flanges. The maker not only was adept in modeling the original form but ably constructed a mold over it that yielded a sculpture that did not require filing or post-casting repairs. This is particularly remarkable because of the high copper content of the head (tested at 94.4 percent). Copper lends itself to hammering in its pure form, but to pour and mold it easily requires alloying it with other metals.
Description description	Naturalistic human head with circular opening in the top of the tiered twisted-strand hairstyle. A beaded collar covers the neck and two vertical iron inlay lines adorn the forehead over the nose with four raised keloids over each eye.
Provenance prior owner	Augustus Lane-Fox Pitt-Rivers, Farnharm, Dorset, -- to 1900
Provenance prior owner	Pitt-Rivers estate, 1900
Provenance prior owner	Private collection, New York, -- to 1982
Exhibition History exhibition history	African Mosaic: Selections from the Permanent Collection, National Museum of African Art, Smithsonian Institution, Washington, D.C., November 19, 2013–August 12, 2019 (installed August 6, 2014 to August 12, 2019)
Exhibition History exhibition history	Encompassing the Globe: Portugal and the World in the 16th & 17th Centuries, National Museum of African Art and the Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C., June 23-September 16, 2007; Palais des Beaux-Arts de Bruxelles
Exhibition History exhibition history	Treasures, National Museum of African Art, Smithsonian Institution, Washington, D.C., November 17, 2004-August 15, 2005
Exhibition History exhibition history	Images of Power and Identity: The Ancient West African City of Benin, A.D. 1300-1897, National Museum of African Art, Smithsonian Institution, Washington, D.C., September 28, 1987-June 1, 2004
Exhibition History exhibition history	Circa 1492: Art in the Age of Exploration, National Gallery of Art, Smithsonian Institution, Washington, D.C., October 12, 1991-January 12, 1992
Exhibition History exhibition history	The Ancient West African City of Benin, A.D. 1300-1897, National Museum of African Art, Smithsonian Institution, Washington, D.C., September 28, 1987-June 1, 2004
Exhibition History exhibition history	History, Context, Materials: Selections from the Permanent Collection of the National Museum of African Art, Smithsonian Institution, Washington, D.C., November 12, 1985-January 5, 1986
Published References bibliography	Arnoldi, Mary Jo and Christine Mullen Kreamer. 1995. Crowning Achievements: African Arts of Dressing the Head. Los Angeles: Fowler Museum of Cultural History, University of California, p. 13, no. 1.3.
Published References bibliography	Freyer, Bryna. 1987. Royal Benin Art in the Collection of the National Museum of African Art. Washington, D.C.: Smithsonian Institution Press, p. 21, no. 1.
Published References bibliography	Hornbeck, Stephanie E. 2009. "A Conservation Conundrum: Ephemeral Art at the National Museum of African Art." African Arts 42 (3), p. 57, no. 10a-b.
Published References bibliography	Koslow, Philip. 1996. Benin: Lords of the River. New York: Chelsea House Publishers, p. 26.
Published References bibliography	Levenson, Jay A. (ed). 2007. Encompassing the Globe: Portugal and the World in the 16th & 17th Centuries. Washington, D.C.: Arthur M. Sackler Gallery, Smithsonian Institution, pp. 160-161, no. A-14.
Published References bibliography	Moffett, Dana L. 1996. "Wax Coatings on Ethnographic Metal Objects: Justifications for Allowing a Tradition to Wane." Journal of the American Institute for Conservation 35, pp. 2-3, 6, nos. 1-4.
Published References bibliography	Nash, Gary B., et al. 2009. The American People: Creating a Nation and a Society. London: Pearson.
Published References bibliography	National Museum of African Art. 1999. Selected Works from the Collection of the National Museum of African Art. Washington, D.C.: National Museum of African Art, Smithsonian Institution, p. 80, no. 52.
Published References bibliography	Neumann, Erich. 1963. The Great Mother, an analysis of the archetype. New York: Bollingen Foundation; Pantheon Books, pl.19
Published References bibliography	Park, Edwards. 1983. Treasures of the Smithsonian. Washington, D.C.: Smithsonian Books, p. 395.
Published References bibliography	Patton, Sharon F. 2004. Treasures: Smithsonian National Museum of African Art. Washington, D.C.: National Museum of African Art, Smithsonian Institution. Folio.
Published References bibliography	Pitt-Rivers, Augustus. [1900] 1976. Antique Works of Art from Benin. [London] New York: Dover, p. 15, nos. 88-89.
Published References bibliography	Robbins, Warren M. and Nancy I. Nooter. 1989. African Art in American Collections. Washington, D.C.: Smithsonian Institution Press, p. 214, no. 552.
Credit Line prior owner	Purchased with funds provided by the Smithsonian Collections Acquisition Program
Maker producer	Benin kingdom court style
Maker producer	Edo artist
Topic	Commemorative
Topic	foreigner
Topic	Male use
Topic	male
Geography production place	Nigeria
Medium material	Copper alloy, iron inlay
Dimensions dimensions	H x W x D: 23.2 x 15.9 x 20 cm (9 1/8 x 6 1/4 x 7 7/8 in.)
Data Source	National Museum of African Art
Restrictions & Rights license	CC0
See more items in	National Museum of African Art Collection

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