Core-Cataloguing-Fields/DescriptionDescription Cast bronze cylinder. Loops around rim at either end.
Openwork background. Two horsemen. Alternating with them and with feet on opposite rim,
two standing figures, each holding club and bird at sides. Worn on the left forearm of
the Oba (King).
From accession card.
Terms/Medium-AttributesMaterial brass (alloy), casting (process)
13.5 cm x 9.0 cm (5 5/16 x 3 9/16 in.)
Core-Cataloguing-Fields/ClassificationObject Type Ornament
Terms/Classification-TermsObject Type cuffs (costume components), jewelry, bracelets (jewelry)
Terms/Subject-TermsIconography Portuguese, figures (representations), men, merchants, equestrians, horses
Accession-Information/DonorPrior Source J. Lionberger Davis, 1878–1973
Gift of J. Lionberger Davis, Class of 1900
Core-Cataloguing-Fields/ProvenanceProvenance Benin City (Edo), present-day Nigeria, until 1897; [Mathias Komor Works of Art, New York, NY]; J. Lionberger Davis, St. Louis, MO; Princeton University Art Museum, 1963
- Provenance, 2017-04-28, Kristen D. Windmuller-Luna
Exhibition-History/Exhibition/Exhibition-DateExhibition History Jul 14, 2012 – Sep 23, 2012
Exhibition-History/Exhibition/Exhibition-PlaceExhibition History Princeton University Art Museum
Exhibition-History/Exhibition/Exhibition-TitleExhibition History Encounters: Conflict, Dialogue, Discovery
Exhibition-History/Exhibtion/Exhibition-PlaceExhibition History Princeton University Art Museum
Exhibition-History/Exhibtion/Exhibition-TitleExhibition History Sep preGallery Rotation African Fall 2014
Published-References-and-Reproductions/Reference/0Bibliography Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007), p. 151 (illus.).
Published-References-and-Reproductions/Reference/1Bibliography "Summary of Acquisitions, 1963," Record of the Art Museum, Princeton University, vol. 23, no. 1 (1964): p. 29-31, p. 31.
Published-References-and-Reproductions/Reference/2Bibliography Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2 013), p. 151.
Published-References-and-Reproductions/Reference/3Bibliography "Selected checklist of objects in the collection of African art," Record of the Art Museum, Princeton University 58, no. 1/2 (1999): p. 77–83, p. 78.
Published-References-and-Reproductions/Reference/4Bibliography "Gifts by J. Lionberger Davis, Class of 1900, to the Art Museum", Record of the Art Museum, Princeton University 33, no. 2 (1974): p. 24-30, p. 30 (illus.).
Accession-Information/Acquisition-Justification No justification recorded
EAL, Catalogue Date: 2017-01-26
Core-Cataloguing-Fields/Department African and Oceanic Art
Places/Place/0/Place-Name Nigeria, Western Africa
Places/Place/0/Place-link Places/Place/1/Place-Name Benin, Western Africa
Places/Place/1/Place-link As per Perrin Lathrop, 2016.)
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Related-Media/Media/0/Ren-Date 4/25/18
Related-Media/Media/0/Rendition-Number PUAMSTU2018_4 7462
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Edo artist, Benin Kingdom, Nigeria, Western Africa, Bracelet, 18th–19th century. Brass, 13.5 x 9 cm. Gift of J. Lionberger Davis, Class of 1900 (y1963-38)
Edo artist, Benin Kingdom, Nigeria, Western Africa, Bracelet, 18th–19th century. Brass, 13.5 x 9 cm. Gift of J. Lionberger Davis, Class of 1900 (y1963-38)
texts/0/textentryhtmlDescription This brass openwork bracelet is decorated with repeating figures and was originally one of a pair of wrist cuffs. A male figure representing a Portuguese navigator alternates with the figure of a noblemen on horseback, each one appearing twice. The equestrian may represent the divine king, who alone may own horses. The man is one of many portrayed in Edo court arts after Portuguese traders began traveling to Benin City in the late fifteenth century. Edo peoples drew parallels between the Portuguese sailors and the god Olokun, who crosses water and brings wealth to the living. The openwork lattice pattern, elaborate surfaces, and dynamic use of space attest to the artistry of the royal brass-casting guilds. Similar bracelets, carved in ivory, are reserved for the king.
texts/1/textentryhtmlDescription Chiefs and kings of the kingdom of Benin wore pairs of brass bracelets at palace ceremonies. This cast example depicts four men—two on horseback, two standing. While these figures do not have the slender noses typical of Benin depictions of Europeans, they can be identified as Portuguese by their short beards, helmets, and clothing. Linked to the god Olokun, who crosses water and brings wealth to the living, images of Portuguese traders symbolized economic and political power. The royal brass-casting guilds dramatically increased their production after the fifteenth century as a result of the influx of brass manilas—bracelet-shaped metal currency pieces—imported by the Portuguese.
terms/Materials/termMaterial brass (alloy)
dimensionelements/HeightDimensions Overall: 13.50 centimeters
dimensionelements/diamDimensions Overall: 9.00 centimeters
13.5 cm x 9.0 cm (5 5/16 x 3 9/16 in.)
classifications/0/classificationObject Type cuffs (costume components)
classifications/2/classificationObject Type bracelets (jewelry)
terms/Subject/1/termIconography figures (representations)
geography/displaygeographyProduction Place Place made: Africa, Nigeria, Benin Kingdom
Gift of J. Lionberger Davis, Class of 1900
exhibitions/citationExhibition History Encounters: Conflict, Dialogue, Discovery (Saturday, July 14, 2012 - Sunday, September 23, 2012)
bibliography/0/boilertextBibliography Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007).
bibliography/0/citationBibliography Princeton University Art Museum: Handbook of the Collection (New Haven, CT: Yale University Press, 2007)., p. 151 (illus.)
bibliography/1/boilertextBibliography Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013).
bibliography/1/citationBibliography Princeton University Art Museum: Handbook of the Collections (Princeton, NJ: Princeton University Art Museum, 2013)., p. 151
bibliography/2/boilertextBibliography "Selected checklist of objects in the collection of African art," Record of the Art Museum, Princeton University 58, no. 1/2 (1999): p. 77–83.
bibliography/2/citationBibliography "Selected checklist of objects in the collection of African art," Record of the Art Museum, Princeton University 58, no. 1/2 (1999): p. 77–83., p. 78
bibliography/3/boilertextBibliography "Gifts by J. Lionberger Davis, Class of 1900, to the Art Museum", Record of the Art Museum, Princeton University 33, no. 2 (1974): p. 24-30.
bibliography/3/citationBibliography "Gifts by J. Lionberger Davis, Class of 1900, to the Art Museum", Record of the Art Museum, Princeton University 33, no. 2 (1974): p. 24-30., p. 30 (illus.)
bibliography/4/boilertextBibliography "Summary of Acquisitions, 1963," Record of the Art Museum, Princeton University, vol. 23, no. 1 (1964): p. 29-31.
bibliography/4/citationBibliography "Summary of Acquisitions, 1963," Record of the Art Museum, Princeton University, vol. 23, no. 1 (1964): p. 29-31., p. 31
media/0/mediaviewtypeImages (not assigned)
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media/2/mediaviewtypeImages (not assigned)
media/3/mediaviewtypeImages (not assigned)
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media/6/mediaviewtypeImages (not assigned)
terms/Classification/0/aatid 300210488
terms/Classification/0/id 2115829
terms/Classification/0/term cuffs (costume components)
terms/Classification/1/aatid 300209286
terms/Classification/1/id 2130588
terms/Classification/1/term jewelry
terms/Classification/2/aatid 300045991
terms/Classification/2/id 2130789
terms/Classification/2/term bracelets (jewelry)
African rotation September 2014