John Picton, a professor at the University of London’s School of Oriental and African Studies and former deputy director of the National Museum in Lagos, says that the ancient brass heads have developed “a shiny surface”. Other specialists have also expressed concerns about the treatment by conservators at the Instituto del Patrimonio Cultural de España (Spanish Cultural Heritage Institute).“Dynasty and Divinity: Ife Art in Ancient Nigeria” includes some of the finest sculptures ever produced in Africa. It is the most important show ever mounted about Ife culture and is now at the Virginia Museum of Fine Arts (until 22 May). Last year it was at the Fundación Botín in Santander, the Museo de Bellas Artes de San Fernando in Madrid, the British Museum and Houston’s Museum of Fine Arts.
Catalogue of this exhibition:
Henry John Drewal,..
Pre-conservation condition of the works
Before their conservation in Spain, the Ife sculptures had not been well cared for in Nigeria, where conservation and storage facilities are generally inadequate. One important aspect of the international tour is to generate funds and offer training opportunities for Nigerians—when the exhibition visited London in 2010, conservators from Lagos were involved in the installation of the show.
When the sculptures were first shown to the curators of the touring exhibition, some of the finest pieces were brought out and placed on an inappropriate piece of foam on the floor of the National Museum in Lagos.
Some sculptures had spatters of modern white paint—consistent with the type used on gallery walls. Most of the works in the exhibition catalogue were photographed before conservation, and a granite figure of a crocodile has traces of white paint visible around its front foot (cat 12). Some stone sculptures had been displayed out of doors in Ife, including a very tall stylised shield and a sword (cats 9-10). These had been buried in a courtyard of the museum, as they would have been traditionally. A finely carved figure of the gatekeeper deity Idena, possibly 12th century, had been cemented into a plant pot to provide a display stand. It was shipped in one piece to the British Museum, where the planter was safely removed (cat 8).
Dating from the 12th to 15th centuries, most of the 100 pieces had never left Nigeria before. In 2009 many of them were sent to Madrid for conservation. Although the Instituto del Patrimonio Cultural de España’s conservators are highly respected, they have had relatively little experience of West African art.
Among the most important Ife loans are 20 heads and figures in copper alloy (brass), and these are the sculptures that have generated most concern. Surface wax, which had been applied as a moisture barrier at various times in the 20th century, was removed, which may have led to the loss of any original surface coverings from antiquity.
After cleaning, an anti-corrosion inhibitor, Benzotriazole (BTA), was applied, but this has the effect of making metal appear shiny, particularly under direct lighting. The BTA coating protects the brass from humidity. But, critics say, more consideration should have been given to environmental conditions during the tour and in the National Museum in Lagos (where the works have mostly been kept in recent years, following a spate of thefts at the Ife museum).
On top of the BTA, Spanish conservators added a layer of Incralac, an acrylic coating for copper alloys that dulls the surface. This coating tends to dissipate with handling, although it can be reapplied.
The Instituto del Patrimonio Cultural de España says the treatment is “easily reversible”. It also believes that the visual impact of the sculptures “stayed the same or was improved”.
All the conservation work was approved by Nigeria’s National Commission for Museums and Monuments, which owns the collection.
Mayo Adediran, Nigeria’s director of museums, stresses that BTA is a protective coating. It does not affect the metal, its effects are reversible, and he believes the “best options” have been taken to conserve the sculptures.
But he added: “If it turns out the objects have a ‘shiny surface’, it calls for a further investigation on the quantity and mode of application of Incralac on the BTA. We shall carefully look into all complaints and find solutions if they are necessary.”
Enid Schildkrout, the New York-based curator of “Dynasty and Divinity”, has looked again at the conservation process. She said: “I am quite certain there has been no damage. The appearance of the sculptures may have changed with the various treatments, including the former applications of waxes and the BTA coating, but it is important to protect them from humidity. Whether a shiny surface matches the intentions of the makers is an interesting, but probably unanswerable, question. It’s a matter of taste, and raises the question of whose taste: that of the maker, the owner or viewer.”
The show, “Dynasty and Divinity”, travels to the Indianapolis Museum of Art (8 July-15 January 2012) and to New York’s Museum for African Art in 2012
Comment about the catalogue of the exhibition:
This review is from: :Dynasty and Divinity Ife Art in Ancient Nigeria (Paperback)
By J. B. Gwin “African art lover” (Houston, TX)
Dynasty and Divinity Henry John Drewal,..
This book accompanies a show recently exhibited at the British Museum. The exhibition is coming to Houston, Texas, September 19, 2010, through January 9, 2011, and I can’t wait to see it. The works comprise what is regarded by many as the highest form of African art, and due to it’s materials, it, along with Benin and Owo, is certainly among the oldest, dating back to the 12th century. Only the Nok terra cottas are older, dating to circa 200 BC. I recommend acquiring this book and studying it in preparation to seeing the exhibit in Houston or elsewhere. The book is an identical re-titling of the “Kingdom of Ife” book which accompanied an exhibit at the British Museum earlier in 2010, only the title changed. I also recommend the dvd “Head of an Ife King” from the British Museum.
Related book about Bronze conservation:
Brian Considine, J..
Patrick V. Kipper,.
Anthony Bane comments: Patrick Kipper’s book is the best source to learn contemporary hot patina techniques. For the artist, it is an exellent reference of patina color. For the professional, it contains valuable chemical combinations and application techniques.
Ivory pendant mask, Edo people, Kingdom of Benin, Nigeria. Estimate: £3,500,000-4,500,000. Photo: Sotheby’s.
Fact is that a controversy started around this object quite fast and that the Edo State Government requested a cancellation of the auction through the United Nations. Also some Facebook group requested to Stop The Sale of Stolen 16th Century Benin Mask and got more than 500 fans quite fast
SOTHEBY’S STATEMENT REGARDING CANCELLATION OF BENIN SALE
“The Benin Ivory Pendant Mask and other items consigned by the descendants of
Lionel Galway which Sotheby’s had announced for auction in February 2011 have
been withdrawn from sale at the request of the consignors.”
LONDON.- On 17th February 2011, Sotheby’s will sell a rare, newly re-discovered, 16th century ivory pendant mask depicting the head of the Queen mother from the Edo peoples, Kingdom of Benin in Nigeria along with five other rare works from Benin collected at the same time.
Only four other historical ivory pendant masks with related iconography of this age and quality are known – all of which are housed in major museums around the world1. All of the ivory masks are widely recognized for the quality of their craftsmanship, for the enormous scale of Benin’s artistic achievement and for their importance in the field of African art. Produced for the Oba (or King) of Benin, these ivory pendant masks are testament to the Kingdom of Benin’s golden age when the kingdom flourished economically, politically and artistically.
The masks rank among the most iconic works of art to have been created in Africa. The mask to be sold at Sotheby’s in February is estimated at £3.5-4.5* million. It had been on public view in 1947 as part of a loan exhibition at the Berkeley Galleries in London entitled ‘Ancient Benin’, and then again in 1951 in ‘Traditional Sculpture from the Colonies’ at the Arts Gallery of the Imperial Institute in London.
read more inside about the mask and an article about the Planned Sales Of Stolen Benin Artefacts: EDSG Urges UN Intervention
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