The rooster, which is around 300 years old, is cast to the highest standard of craftsmanship, artistically superbly shaped and free from damage. The only drawback for art-historical research is that its exact provenance cannot be determined. It is likely that the cock stood on a private family altar, protected from strangers and children. West African trade is characterised by a desire to protect provenance. The quality of the workmanship and stylistic features point unequivocally to the foundry guild in Benin.

The cockerel is depicted in the act of crowing and has a raised, strikingly large comb. The plumage is rendered through slight indentations and dotted chiselling. The generous plinth is decorated with a diamond pattern on the side. The plant-based solution applied after production has developed a uniform patina across the entire surface.

In several African cultures, hens and roosters play a significant role in mythology. This is already evident from the elaborate and luxurious nature of the cast piece.

Translated with DeepL.com

Cp.:
Felix von LUSCHAN: Die Altertümer von Benin, Band 1, Berlin 1919, S. 337-339.
Kunst aus Benin. Afrikanische Meisterwerke aus der Sammlung Hans Meyer, Grassimuseum, Leipzig 2002, S. 90.
Armand DUCHATEAU: Benin. Kunst einer afrikanischen Königskultur, München 1995, S. 78.
Barbara PLANKENSTEINER (Hg.): Benin. Könige und Rituale. Höfische Kunst aus Nigeria, Wien 2007, S. 398/ 399.