This striking reliquary figure originates from the southern Kota region, featuring several distinctive stylistic traits that allow it to be attributed to the Obamba people. The sculpture is immediately recognizable by its symmetrical composition, the powerful geometry of its forms, and the dense, rhythmic surface treatment of the metal sheathing. The face is almond-shaped and slightly pointed toward the chin, its surface animated by a carefully worked interplay of cut brass strips arranged in a sunburst pattern. These radiating lines extend diagonally outward from the vertical central ridge and are bordered by horizontal bands, creating a dynamic tension between axial stability and centrifugal movement. The prominent and meticulous composition of the facial elements is another defining Obamba feature. The crossbar, created by two finely tooled horizontal bands, holds the round protruding eyes, which feature iron pupils. The long thin nose is placed in high relief and sharply modeled. The mouth is absent, emphasizing the figure’s abstraction and distance from direct portraiture. On top, the large crescent-shaped crest is richly decorated with a combination of embossed and stamped patterns: zigzags, diamond motifs, and stippled borders. Typical of the type, the tips of the crest are attached to the lateral panels. Below, the lateral “ears” are formed by two obliquely set crosspieces, integrated into the composition in a nearly cruciform fashion. The side panels display a dense diagonal tooling that mirrors the texture of the central face. These elements contribute to the dynamic symmetry of the sculpture and reinforce its visual presence. The neck is sheathed in brass, ornamented with a crosshatched design that extends the rhythmic language of the face downward. Although the lower portion is broken, the traces of the lozenge-shaped base are still discernible.

This sculpture is an excellent example of how southern Kota masters could fuse spiritual function with a powerful formal vocabulary. The play of light on its different metal surfaces – red copper and yellow brass - adds further to the visual drama, while the formal discipline and elegant restraint speak to the object’s importance. Apart from the present example, at least sixteen other statues were made by the same Obamba artist in this unique and easily recognizable style – a testament to his reputation and fame in the region in the second half of the 19th century. Several museums own “Kota” by this master sculptor: the Staatliches Museum für Völkerkunde in Munich, Germany (#92-316 285), the Swiss Musée Barbier-Mueller in Geneva (#1019-4-G) and The University Museum at the University of Pennsylvania (#29-12-222). The Spanish art dealer Guilhem Montagut exhibited an almost identical Obamba during his exhibition “Un Choix” (Parcours des Mondes, 2021, pp. 46-47, 49 in his catalog). A notable difference between the two is the shape of the relief decoration on the reverse (more rhomboid in form), while a single iron staple suggests a mouth, and the horizontal bands next to the eyes form a single line (similar to the Obamba published by David Serra in “Imaginaire Tribal 2021”, Barcelona, 2021, p. 54). An example formerly in the Van Oosterom Collection (Christie’s, Paris, 10 December 2024, lot 14) has a different decoration on the crest, while the reverse shows a rectangular design element in relief decorated with parallel vertical lines. An Obamba at the Princeton University Art Museum (#2016-49) has identical designs on the crest yet very different decorative patterns on the lateral panels and a simple diamond-shaped element on the back. An example in a private collection was published in Alain & Françoise Chaffin’s “L’Art Kota” (Meudon, 1979, p. 230 plate 130). Eight other figures made by the same artist were sold at auction: Sotheby’s, New York, 13 May 2011, lot 257; Christie’s, New York, 19 June 1985, lot 496; Christie’s, Paris, 22 November 2017, lot 49; Sotheby’s, Paris, 24 June 2015, lot 75; François de Ricqlès, Paris, 7 June 1998, lot 94; Sotheby’s, Paris, 25 June 2020, lot 70; and Drouot Estimations, Paris, 6 June 2008, lot 73 and lot 74.

With Baron Alessandro von Hoerschelmann, the present Obamba “Kota” has a special provenance. In 1952, this Italian collector organized an exhibition of African art offered for sale at the Galleria “Il Collezionista” in Piazza San Babila in Milan. Assisted by the famous French expert and art dealer Charles Ratton, this would be the first ever privately held selling exhibition in Italy. The show was documented in a catalog, published in Italian, “Arte Negra” (Milan, 1952). However, while all 55 exhibited works are listed and described, only 15 are illustrated with photographs. This wonderful figure hence exemplifies the long-standing interest in classical African art in Italy.