Vintage West African Lost-Wax Figural Ring - Two Tribal Figures, Size ~7

"

Good day, and thank you for your interest in this distinctive vintage ring from our family’s private estate holdings.

This is a quietly compelling example of classic West African lost-wax (cire perdue) figural jewelry — a wearable sculpture in miniature that captures the expressive power and symbolic duality often found in tribal adornment from the region. Two standing figures are modeled side by side with remarkable character and technical finesse. The left-hand figure presents a calm, gently smiling face beneath a softly draped or folded head covering; its features are smooth and serene, conveying quiet presence. Its torso and limbs are worked with a raised, dotted or granulated texture that catches the light and suggests scarification patterns, beaded ornament, or richly textured cloth common in West African artistic conventions.

Its companion on the right offers a dramatic counterpoint: a boldly theatrical, mask-like face with exaggerated features, pronounced cheek structure, and a wide, animated mouth baring teeth in an expressive grin. The headdress is especially striking — a radiating or crest-like form with shell-inspired or fan-like elements that recall certain crested masks and ancestor figures found across West African traditions. The body of this second figure carries a contrasting linear, ribbed, or scale-like texture, evoking pleated or armored surfaces that heighten the visual tension between the two characters.

The figures stand closely together in a lively, almost conversational or dance-like pose, their limbs arranged with dynamic energy — one hand resting near the hip, the other suggesting movement. This sense of interaction between the calm and the mask-like figure is central to the piece’s appeal; in the broader context of West African art, such paired or dual figures frequently embody complementary forces — harmony and protection, the seen and the unseen, or ancestral and living realms. The lost-wax casting technique is beautifully evident throughout: the crisp undercuts, the fine surface textures, and the way the forms were built up in wax before the investment mold was created and the metal poured. On the reverse, the heads show concave or partially open areas consistent with traditional hollow casting methods used to control weight and material in ethnographic metalwork.

The simple, rounded band sits at the mid-section of the figures, allowing the sculptural element to rise prominently above the finger while the legs extend downward in a natural stance. When worn, as seen in the hand photographs, the ring sits with presence yet remains balanced and comfortable on a medium finger. The overall height of the figural top measures approximately 35–40 mm from the highest point of the crest to the lowest point of the feet, and the width across both figures is roughly 22–25 mm — substantial enough to make a statement while still practical for wear.

The metal itself is an apparent silver-tone, dark-patinated white metal that reveals warm coppery-brown undertones where the surface has gently worn and shows traces of green verdigris in protected areas. These characteristics are entirely consistent with a cast copper alloy — bronze or brass — of the type long favored in West African lost-wax traditions for both ritual and personal adornment. No hallmarks or maker’s marks are present, which is typical of many authentic tribal and vintage ethnographic pieces produced outside formal assay systems. The rich, time-developed patina speaks to age and honest use; it has not been aggressively cleaned or restored, preserving the authentic surface that collectors of such work value.

This ring is not a large free-standing sculpture but a personal, wearable object — a rarer format within the broader corpus of lost-wax figural art from the region, where most surviving examples are larger figures or regalia. Its compact scale and dual-figure composition make it especially suited to those who appreciate ethnographic jewelry that carries cultural resonance without requiring a display case. The contrast between the serene figure and its mask-like counterpart creates a visual dialogue that shifts with light and angle, rewarding close examination from every side.

Condition is very good for a vintage piece of this type. The casting remains structurally sound with no cracks, breaks, or repairs. Surface wear is honest and expected: gentle rubbing to high points, accumulated patina, and minor marks from decades of handling. The details of the faces, headdresses, and textured bodies remain clear and legible. It is ready to wear or to be added to a collection of tribal or lost-wax metalwork.

We present this ring exactly as it has come to us from the estate — with all the character, patina, and quiet authority that only genuine age and traditional craftsmanship can impart. Whether you collect West African art, figural jewelry, or simply seek a singular conversation piece with roots in one of the world’s great metalworking traditions, this small ring offers a remarkable amount of presence and story in a wearable form.

If you have questions about fit, the photographs, or the piece’s place within the broader tradition of lost-wax figural adornment, please write. We are always happy to provide additional detail or images.

 _gsrx_vers_1736 (GS 9.9.5 (1736))

Condition: Pre-owned - Good

Item specifics

Offered by Gosla Antiques & Collectibles, purveyors of antiquities, curiosities and collectible wares. Dispatched from Pennsylvania, United States, with tracking.