This type of circular pendant representing a sun refers to an ancient and complex passage of the Dogon cosmogony, at a time when light was given to men through 10 suns. It is is relatively rare in western collections. The sun symbol identification that is sometimes made seems to be foreign rather than a Dogon interpretation. 

Made of 100% Brass / Bronze

Model is W 7 – H 2 and weight 0.12 kg.

This authentic antique Benin bronze ancestral altar bell, cast in the form of a dome comes from Nigeria. The bell is surmounted with by a horseman and adorned by geometical shape. Tribal bells were used for a variety of purposes, such as proclaiming a sacred presence as well as a neutralizing hostile or harmful forces. Bells were used as tools of communication, as portable instruments for conveying important messages, and as a form or currency. The predominant method employed by the Edo in creating objects like the Bells, called “lost-wax casting, does not permit for a mold to be used more than once, a fact which accounts for the idiosyncrasies and lack of exact copies in known examples of Benin bronzes. Using the bells and rattle stuffs to call the ancestor’s spirit, the oba offered sacrifices to him and to the earth on the altar.

Made of 100% Bronze, copper alloy.

Model is W 9 – H 32 and weight 0.4 kg.

This beautiful miniature head cast in the lost wax technique originates from Ife, Nigeria, the religious and former royal centre of the Yoruba people. It is believed to represent an Ooni which means king. Such sculptures such as this was very unqiue to the culture of African art. According to the oral traditions of the Yoruba people, Ife is the place where life and civilisation began. Ife is regarded as the legendary homeland of theYoruba-speaking peoples and its sacred ruler, the Ooni, is still revered as the descendant of the original creator gods.

Made of 100% Bronze, copper alloy.

Model is W 9 – H 22 and weight 0.4 kg.

Brass ceremonial tobacco pipe, conical, decorated with a geometric ornments and facial features. The piece originates from the Ife tribe in Nigeria. Pieces such as this one were created to honor the king , or Oba, who has reigned, with his ancestors, from the 15th century. Ife is regarded as the legendary homeland of theYoruba-speaking peoples and its sacred ruler, the Ooni, is still revered as the descendant of the original creator gods.

Made of 100% Bronze, copper alloy.

Model is W 18 – H 42 and weight 0.4 kg.

This great Mumuye figure, carved with crescentic coiffure, an helmet like shaped head, large circular eyes and disc-like ears has a characteristical toroidal shape and the unmistakable stylistic sign of this Mumuye ethnic group.

Made of 100% Wood.

Model is W 70 - H 11 and weight 2 kg.

This rare and beautiful 19th–mid-20th century mother-and-child maternity figure carved for the Royal Court originates from northeastern Igboland, Nigeria. The Shango crest sits on atop the head, with ethnic adornments and scarification and exceptional detail in the facial expression. Shango is the god of thunder and lightning. Shango is both feared in the context of justice and magic and venerated as his manifestations bring beneficial rain for crops.

Made of 100% wood.

Model is W 75 - H 16 and weight 5.2 kg.

This beautiful miniature Ife head is cast in the lost wax technique, and originates from Ife, Nigeria. The heads often depict historic individuals and heroes of Ife, spiritual home of the Yoruba. According to the oral traditions of the Yoruba people, Ife is the place where life and civilisation began. Ife is regarded as the legendary homeland of theYoruba-speaking peoples and its sacred ruler, the Ooni, is still revered as the descendant of the original creator gods.

Made of 100% "Bronze" Brass, copper alloy.

Model is W 16 – H 19 and weight 0.4 kg.

This tribal Mask From the Chokwe is called pwo or mwana pwo mask and  originates from Angola. It has an elaborate hairline made up of a braided fibre fabric, beautiful and unusual scarification patterns on the forehead and cheeks. Pwo signifies womanhood and an elder ancestral female associated with fertility. The cross form on the forehead, known as cingelyengelye, is an early Portuguese influence.

Made of 100% wood, fiber, Patina.

Model is W 28 – H 17 and weight 0.5 kg.

This Ife bracelet from Benin is made of bronze and was used as currency and left as a gift of great value to the bride, as a wish for prosperity. In addition to the consistency and weight, this cuff is remarkable because of the details of the decorations, which are a clear sign of the Benin artistic mastery. The holes, perfectly integrated in the design, demonstrate the use of the valuable lost wax technique.

Made of 100% Brass / Bronze

Model is W 6 – H 13 and weight 0.6 kg.

This small zoomorphic figure made of old bronze, black iron reveals some of the most accomplished sculptures made by a Nigerian tribe called Mumuye. Mumuye figure demonstrates an astonishing range of variations, testifying to their makers’ unbridled creativity and limitless inventiveness. These small sculptures reinforce the status and prestige of their owner, as they hold them in their hands, they have a dialogue with them and thus ensures them personal protection.

Made of 100% old bronze.

Model is W 58 - H 17 and weight 2.2 kg.

This light mask (late 1800s) represents the spirit of an ancestor and was used for social control by Ngil, the judiciary association. The facial markings, abstract features and strong. Elegant lines are typical of Fang masks, which were among the most influential.

Made of 100% Native fiber, wood and paint.

Model is W 48 - H 21 and weight 1.6 kg.

This Mid 20th century Chamba statue is not very common and their role is little known but it has been reported that  figures such as this are used in cult activity known as Jup that is in the main dominated by men or in the case of women, Jem.

Made of 100% carved wood and camwood powder.

Model is W 50 - H 167 and weight 4.7 kg.

This Kunin statuette originates from Middle Benue River Valley, Nigeria, and is distinguished by its overall elegant proportions. It is stylistically compared to their Mumuye and Jukun neighbors. This figure is not very common and their role is little known but it has been reported that figures such as this are used in a cult activity known as Jup that is in the main dominated by men or in the case of women, Jem.

Made of 100% carved wood, patina.

Model is W 7 - H 40 and weight 0.2 kg.

This rare Wurkun (or Bikwin) small figure, in a post or staff-like form, is known as iagalagana and incarnates tutelary spirits. The stylized figure is stuck on iron rods, with a beautiful crusty red ocher patina. These statues were frequently washed with liquid clay, "fed" with millet beer offerings, rubbed with oil, explaining the thickness of the clay.

Made of 100% Iron, Paint.

Model is W 41 - H 14 and weight 3.5 kg.

This beautiful miniature head cast in the lost wax technique originates from Ife, Nigeria, the religious and former royal centre of the Yoruba people. It is believed to represent a king. According to the oral traditions of the Yoruba people, Ife is the place where life and civilisation began. Ife is regarded as the legendary homeland of theYoruba-speaking peoples and its sacred ruler, the Ooni, is still revered as the descendant of the original creator gods.

Made of 100% "Bronze" Brass, copper alloy.

Model is W 9 – H 22 and weight 0.4 kg.

This is a large corpus of Yoruba sculpture known and identified as to symbol and meaning identified to the various orishas or deities. This beautiful sculpture depicts a seated woman, holding a child on her knees and breastfeding. To the Yoruba the prime manifestation of the life force is fertility and women are the stronger sex as the life force manifests itself directly in them in the form of menstruation and childbirth. These figures, some of which were brightly painted, were placed on altars in shrines or displayed at special ceremonies. In Yoruba society, the most important role of women is to bear children, and as such, sculptures depicting mother and child are widespread, reflecting a number of ideas, such as continuity, ancestors, or family.

Made of 100% wood, adroned with beads and cowrie shells.

Model is W 36 – H 100 and weight 2.4 kg.

This authentic antique Benin bronze ancestral altar bell, cast in the form of a dome comes from Nigeria. The bell is surmounted with by a horseman and adorned by geometical shape. Tribal bells were used for a variety of purposes, such as proclaiming a sacred presence as well as a neutralizing hostile or harmful forces. Bells were used as tools of communication, as portable instruments for conveying important messages, and as a form or currency. The predominant method employed by the Edo in creating objects like the Bells, called “lost-wax casting, does not permit for a mold to be used more than once, a fact which accounts for the idiosyncrasies and lack of exact copies in known examples of Benin bronzes. Using the bells and rattle stuffs to call the ancestor’s spirit, the Oba offered sacrifices to him and to the earth on the altar.

Made of 100% Bronze, copper alloy.

Model is W 8 – H 31 and weight 0.4 kg.

Finely cast bronze (brass - copper alloy) figural scene comes from Nigeria. It depicts a kneeling female figure worker or farmer. The work of bronze by the technique of wax lost in African art.

Made of 100% Bronze, copper alloy.

Model is W 6 – H 27 and weight 0.5 kg.

This light mask (late 1800s) represents the spirit of an ancestor and was used for social control by Ngil, the judiciary association. The facial markings, abstract features and strong. Elegant lines are typical of Fang masks, which were among the most influential.

Made of 100% Native fiber, wood and paint.

Model is W 49 - H 18 and weight 1.5 kg.

This authentic antique Benin bronze ancestral altar bell, cast in the form of a dome comes from Nigeria. The bell is surmounted with by a horseman and adorned by geometical shape. Tribal bells were used for a variety of purposes, such as proclaiming a sacred presence as well as a neutralizing hostile or harmful forces. Bells were used as tools of communication, as portable instruments for conveying important messages, and as a form or currency. The predominant method employed by the Edo in creating objects like the Bells, called “lost-wax casting, does not permit for a mold to be used more than once, a fact which accounts for the idiosyncrasies and lack of exact copies in known examples of Benin bronzes. Using the bells and rattle stuffs to call the ancestor’s spirit, the oba offered sacrifices to him and to the earth on the altar.

Made of 100% Bronze, copper alloy.

Model is W 8 – H 32 and weight 0.4 kg.

"Elu" mask with an expressive Bird like face and hinged jaw originates from the Ogoni tribe in Nigeria, early 20th century. Wooden face mask with hinged, movable jaw. Lower jaw portion attached to upper by narrow wooden threads on each side. Semicircular disc like ears protrude from sides of face. Scarification marks with geometrically incised designs appear on both sides of the face at outer corner of eye area. The eyes are hollow almond shaped openings. The head decoration has a raised portion, with a vertical light-painted keloid or scar mark the center.

Made of 100% light hand-carved cane wood, fiber and pigments.

Model is W 30 - H 19 and weight 3 kg.

This fantastic Chamba statue, is not very common and has an exceptional aesthetic presence and compelling abstract design. It was thought to have either a protective or healing function for the Wurkun or Bikwin peoples of the Benue River Valley.

Made of 100% carved wood and camwood powder.

Model is W 60 – H 14 and weight 3 kg.

This authentic, free-standing brass head cast in the lost wax technique of the Benin Kingdom, in what is now Nigeria, exhibits a virtuosity and sophistication of style that has astonished the Western world since they were visited in the 15th century. The face's shape and unique expression, a tranquil and dignified presence with the transcendent gaze clearly indicate qualities of genuine nobility: endurance, far-sightedness, determination, and wisdom.

Made of 100% Copper

Age late 14th-early 15th century

Model is W 40 – H 26 and weight 5 kg.

This miniature free-standing brass head cast in the lost wax technique originates from Ife, Nigeria. The religious and former royal centre of the Yoruba people. According to the oral traditions of the Yoruba people, Ife is the place where life and civilisation began. Ife is regarded as the legendary homeland of theYoruba-speaking peoples and its sacred ruler, the Ooni, is still revered as the descendant of the original creator gods.

Made of 100% Bronze, copper alloy.

Model is W 9 – H 18 and weight 0.3 kg.

This Early-mid 20th century mother-and-child figures are placed in shrines and used by diviners in northeastern Igboland, Nigeria. The Igbo figures of mother and child are very rare.

Made of 100% wood, kaolin.

Model is W 55 - H 19 and weight 3.5 kg.

This “Elu” mask originates from the Ogoni tribe in Nigeria. Scarification marks with geometrically incised designs appear on the forehead. The eyes are hollow almond shaped openings. The head decoration has a raised portion representing ancestors or title holders.

Made of 100% wood.

Model is W 18 – H 42 and weight 0.4 kg.