Extremely rare 18th century ivory bracelet, originally made for the Olowo of the Kingdom of Owo, Yoruba People.The bracelet, of strong visual impact, is conceived as a double ivory cylinder, composed of a thinner inner section, densely punctured in a pattern that outlines the carved decorative figures, and of a thicker outer section, equally pierced, but featuring a banded and mirrored decorative composition, alternating two rectangular banners with two smaller, oval ones. Each of these depicting two scenes that evolve from the centre outwards, from a pierced and corded central axis, from which hang some beads. The rectangular banners are defined by two double renderings of remarkable iconic and symbolic complexity. In one section the Olowo ruler, central figure of great expressiveness, is depicted with long neck, flattened face, prominent pupils with heavy eyelids, and parallel split lips. He is wearing a conical hat and crossed bandoleer, or sashes, attributes adopted by the rulers of Owo and Benin. The king is assisted by two subordinates depicted in profile. The mirrored image portrays another four profiled warriors, conveying the idea of a ruler surrounded by his army. On the opposite banner, two frontally depicted priests with profiled heads, hold a snake while flanking an Opan-Ifa, or Ifa - a cult and divination object - whose frame is circled by mudfish . Equally mirrored and horizontal, two profiled warriors appear next to a crocodile that swallows a mudfish, both symbolic animals of Olokun, God of the aquatic realm.Adhering to the same decorative scheme, on each of the oval banners appear two mirrored frontal depictions of open armed warriors, holding snakes that form arches above their heads - symbols of royalty.Just as other ivory Owo objects, this bracelet displays considerable aesthetic sophistication that is conferred by its various textures and patterns, as well as by its decorative density. The anthropomorphic depictions follow the characteristics of ivory Owo artworks: flattened faces, prominent pupils of heavy eyelids, conical hair styles, as well as pierced decoration and mirrored composition . The technical virtuosity of the artist that produced it, is more than evidenced in this extraordinary masterpiece.The adopted iconography extols and illustrates the particular leadership of the Owo ruler whose insignia derive from the traditions of the Oba or King of Ancient Benin. This type of bracelets were destined for the exclusively use of these leaders and, when displayed in their arms, assumed intrinsic meanings of power and self-protection as the mirrored composition was intended to be read by both the ruler wearing it and by the viewer. On the other hand, the whiteness of the ivory alludes to the sea foam and reflects the close connection between the King and Olokun, God of the Sea, the reason why bracelets produced in this material were exclusively destined to these monarchs.Elephants were then abundant in the forests surrounding Owo and the city was known as a centre of sculpture and supplier of ivory to Benin. Produced from the 16th century onwards, the themes and decorative elements depicted in these objects of considerable erudition, were repeated well into the 20th century.The bracelet herewith described is closely related to one other presented in Ezio Bassani’s study, dated to the 16th century and also originating from the Kingdom of Owo in Nigeria . Additionally, an analogous example is preserved in the British Museum (Inv. Af1898, 0623.1.) supposedly acquired in Benin, and of common aesthetic language to Owo pieces. Another bracelet, belonging to the Royal Treasure of Benin and dated to the same period, formerly in the W.D. Webster collection, is now deposited in Vienna ́s Museum fur Volkerkunde (Inv.o 74017), (fig. 1).The Kingdom of Owo, formed mainly by Yoruba peoples, together with the ancient Kingdom of Benin (1440–1897), essentially formed by Edo ethnic groups, was located to the south of modern day Nigeria, and had its roots traced to the Ife culture from the ancient city of Ile-Ife – the cradle of the Yoruba culture. The historical ties between these two kingdoms and Ife contributed to their sense of identity, justifying the appropriation and sharing of certain political, religious and artistic characteristics.William Fagg (1951) , comparing ivory objects from Benin and from Owo, concludes that they share considerable similarities in their iconographic and technical details, albeit being possible to distinguish specific differentiating characteristics between one style and the other, particularly in the figures facial characteristics. This historian advocates that the Igbesanmwan — the guild of Benin ivory carvers — must have recruited many artisans from Owo to work in its workshops, hence explaining the close affinities between the two production centres.