Cast brass head of a human. An opening at the top would have supported a carved elephant tusk. The heads wears elaborate "winged" headgear.
Commemorative heads wear used in royal shrines in the Benin kingdom. Kings were honored and cared for after death, with their shrine as the focal point of supplication. The head is particularly important in Benin spirituality, as the head holds the fate of the individual. The king's head, however, holds the fate of the whole kingdom, and so must be properly cared for.
Brass bell or gong in the form of a human head. A loop on the top would have served as a handhold or place to tie the instrument. The opening of the the instrument is squared and flat in order to rest upright.
Gongs are used in Yoruba communities for communication, music, and religious ceremonies. This gong belonged to an ogboni secret society. The ogboni societies have religious and civic functions. Gongs were used by the ogboni to swear in witnesses in disputes. The gong calls ancestral spirits to hear the testimony and will punish those who give false testimony.
A small bronze figure of Amoghapasa, a Buddhist deity, made by the cire perdue (lost wax) casting method. The challenge to the caster is this case is the top-heaviness of the piece caused by the iconographical requirement for the image to have eight arms; in at attempt to provide some support, he arranging floating scarves to drape all the way to the lotus pedestal.
A small statue of the Bodhisattva Amoghapasa, a form of the popular Buddhist deity Avalokitesvara, worshipped most commonly in Buddhist Nepal and Japan. His name means "of the never-empty noose," and his key attribute is a lasso, used to resuce lost souls. Amoghapasa is shown as a bodhisattva (a "wisdom being," with long hair, jewelry, and wearing a dhoti, and with eight arms.
Bronze sculpture of a standing male figure his right hand holding a shield which rests upon a stack of book while his left arm is outstretched hovering over the crouching figure of an African American male figure.
At the end of the Civil War (1861–65) there was an effort to promote an American Renaissance and to beautify cities with civic monuments and public sculpture. Sculptors, including Randolph Rogers, were commissioned to produce memorials that addressed themes of war and slavery and to commemorate military heroes, from the common soldier to President Abraham Lincoln himself. This work is a maquette for the Emancipation Memorial in Washington D.C.’s Lincoln Park, which depicts Abraham Lincoln as the “Great Emancipator” freeing a slave, establishing a narrative of theoretical peace and unity.