A fragmentary Bronze sculpture in the style of Tada with an extremly smoozh patina. The related famous exemplare was obviously deliberately destroyed, which is probably due to the influence of militant Islamism, which has now found its continuation in the reign of terror of Boko Haram and dominates this region. However, this reign of terror has now stopped destroying high-quality works of art and instead sold them to the art trade because they can fetch a considerable amount of money. Even though this sculpture was in a well-known collection in Togo for many years, it is likely that it is closely linked to the decline of animism and the aggressive advance of an intolerant Islamism. The condition of the surface suggests that it was in the ritual use - like mentioned above - for many years., provenance Aboulaye Ousmane, called Abdou Barré, Lomé Togo, it was since a long time in his collection.

Another fragmentary Tsoede broze, we collected a couple of years ago.

Tom Phillips wrote in his book "Africa, the Art of a Continent" page 407, about the wellknown version of this famous sculpture, which is obviously Ife related.

"This is without doubt the suprem masterpiece of the Ife smiths´art. Its proportions are naturalistic, whereas normally the head quarter or more of the height of the figure. The limbs and usualyly the torso are generally no more than cylinders, but here legs and remaining parts of the arms are very Ifelike. The figure wears a wrapper that is overlain with a net of beads. On the left hip a shash is tied round a folded cloth, perhaps thw concerns of the wrappers. (There is a similar hip ornament in terracotta form a life size figure from the Iwinrin Grove). Originally the right foot may have projected below the level of the base, ehich promted Willim Fagg to suggest that it might have been unrended to sit on a round stone throne (as cat. 5.66)...

Until recently this pice was kept in a shrine in the Nupe village of Tada on the river Niger 192 km north of Ife, where the villagers took it downto the riverevery Friday and scrubbed it with river gravel to ebsure the fertility of their wives and of the fish on which they live.. This accounts for its smoothed appearance , Bernard Faggpersuaded the villagers thar they were destroying the sculpture and with it the fertiliy they were trying to promote...

It is not clear why this piece and several others were found so far north. it may well be that its location indicetes the ancient northern frontier of the kingdom of Ife. FW, Bibliography: Willet, 1967, pl 8

s. Tom Phillips, Africa Art, the Art of a Continent, page 407
Youtube video clip: Ife Tada Benin Djenne Adamaua Terracotta and Bronzes Wolfgang Jaenicke Gallery Berlin.

A group of nine bronze sculptures had for a long time been known to exist in two villages on the River Niger, at Tada and on Jebba Island. The bronzes are referred to as the Tsoede bronzes because oral tradition says that the founder of the Nupe Kingdom, King Tsoede, who escaped from Idah in a bronze canoe, distributed these bronzes on his way to founding the present Nupe Kingdom which is believed to date from the sixteenth century.
The bronzes are divided into four groups. The first consists of the so-called Gara figures, two on Jebba Island, a male and a female, and one in Tada.
The second group consists of only the seated figure shown here, perhaps the most important naturalistic sculpture in Black Africa. Two other more recent-looking figures make up the third group, while the figures of two ostriches and an elephant form the fourth group. The male Jebba Gara figure better known as the Jebba Bowman and the Tada Gara male figure are believed to bear resemblance to Benin works because of the diadems on their foreheads which depict faces with snakes issuing from their nostrils, a common feature in Benin works. The Tada seated figure seems, in its naturalism and rigidity, to belong to the Ife school. The two more recent looking figures from Tada have a combination of Yoruba and Benin traits while the ostriches and the elephant belong to a yet unidentified school. So, here we find at least four traditions of sculpture in bronze and their coming together suggests that they were accidentally assembled.
All the figures were still being used in rituals, in secondary contexts, in the places where they were located until they were temporarily taken into safety in the National Museum in Lagos.

Source: Nigerianhouse

photo: wolfgang-jaenicke.com, for more information, please write us an e-mail with the identification number of the photo identification no. XBD179657.jpg

We know only two exemplares, one in an American private collection and one in Europe, which don´t have signs of violance like the well known, in many books published fragmentary exemplare.

If the National Commission of Museums and Monuments in Abuja, Nigeria, is interested in this rare exemplare, we can speak about donation.

It is important that such high-value works of art are protected from further destruction and not left at the mercy of Islamist terrorists. Such objects do not belong on the black market, but this dilemma should be discussed openly with all those who are committed to protecting cultural heritage. This object was not stolen and is coming from athe old private collection of the Heritage of El Hadji Ibrahim Abdoulaye, Cotonou, Benin, who passed away in 2022.

The Tsoede (also called Tada-bronzes) are linked to the Benin Kingdom, one of the great African kingdoms, known for its advanced urban planning, political structure, and art. The bronzes were likely produced by the skilled metalworkers who inhabited the area and are now considered a key part of the rich artistic heritage of the Benin Empire. The works also hold substantial historical value, as they often served ceremonial and symbolic purposes.
Characteristics.

The bronzes are renowned for their high level of craftsmanship and intricate detail. They are typically made using the lost-wax casting technique, which was a sophisticated method in which a wax model of the object is covered in clay and then heated to allow the wax to melt and drain, leaving a hollow mold for molten bronze to be poured into. This technique allowed for the creation of highly detailed and intricate sculptures.
Many of the Tsoede bronzes depict human figures, animal motifs, or abstract symbols, and they were often used in royal or religious contexts, either as offerings or as part of the royal regalia. Some of the common themes include:
1. Portraits of Royalty – These bronzes often feature depictions of kings or nobles, sometimes in elaborate attire or with symbolic regalia.
2. Animal Motifs – Animals, especially elephants and leopards, were common subjects, reflecting their importance in the kingdom's symbolism and governance.
3. Symbolism – The bronzes also depict symbolic elements tied to the spiritual and political life of the kingdom.
Significance
The Tsoede bronzes are considered one of the earliest examples of advanced metalwork in West Africa, and they stand as a testament to the region's long history of metallurgy, craftsmanship, and artistic expression. They are also part of the Benin Bronzes, a collection of plaques and sculptures that are historically important, though the term "Benin Bronzes" is often used more broadly to refer to the numerous works produced in Benin during the 13th to 19th centuries.
These bronzes are not only valuable for their artistic merit but also for what they tell us about the social and political organization of the Benin Kingdom, its religious practices, and its interactions with other cultures.
A few years ago we collected probably  a recent figurine with an artificial patina in the same sitting position, which to this day has attracted a great deal of attention on the internet. One foot touched the ground and the other was parallel to it. In this case arms abd legs were intact and the figure held a snake in its hands.

Is it conceivable that the damage to the figure right presented here was intentional? The deformations of the arm swamps show more than mere erosion. They show - at least on the arms - clear signs of violence. Snakes have been a symbol of power and domination for centuries, especially in traditional Africa. If a character is deprived of this symbol, it loses its magic power. Couldn't the missing left foot be interpreted in a similar way, in that the figure has lost its contact with the earth by breaking off the foot? This could perhaps be interpreted as another sign of de-ritualization.


This well known Tada scupture was described:
"The style and the extraordinarily thin casting of this naturalistic figure point to its likely creation at Ife..

sold

Height: 60 cm
Weight: 14,4 kg

available on www.wolfgang-jaenicke.com