On March 10, 1973, a significant cultural loss occurred when 16 intricately carved verandah posts, masterpieces of Yoruba artistry, were stolen from the courtyard of the Institute of African Studies at the University of Ibadan, Nigeria.
Among these posts, two would eventually find their way into the collection of the Denver Art Museum (DAM) by the end of that same year, unbeknownst to museum staff of their illicit origins.
In 1974, the DAM’s then-director, Karl Otto Bach, was made aware of the posts’ stolen status through a report from the International Council of Museums (ICOM), prompting him to reach out to the University of Ibadan.
The ensuing discussions between the museum and the Nigerian government led to the restitution of these posts, culminating in their return to Nigeria in February 1975.
This case exemplifies the essence of provenance research at the DAM, which is central to the museum’s mission as an encyclopedic institution. Such research enables a thorough understanding of an artwork’s ownership history, which is crucial for responsible stewardship.
With a collection that spans diverse periods and cultures worldwide, the DAM emphasizes the importance of provenance in uncovering histories, verifying authenticity, and identifying cases of looting or illegal export.
Recent developments have underscored the need for museums to critically evaluate their collections. In 2022, the DAM deaccessioned a Benin bronze plaque that had been acquired in 1955 without sufficient knowledge of its complete backstory.
Newly unearthed documentation in 2022 revealed the plaque as one of numerous artifacts taken during a British military expedition that invaded and plundered the royal palace of the Oba of Benin in 1897, meant to enforce colonial dominance over the region.
Known collectively as the “Benin Bronzes,” these artifacts, which include not only bronze items but also ivory carvings and wooden sculptures, symbolize the rich artistic heritage of the Benin royal court.
After deaccessioning the plaque, the DAM took steps to communicate with the rightful owners in Nigeria, exemplifying a commitment to reparative actions.
The discussions led to collaboration with the Nigeria Commission for Monuments and Museums (NCMM), resulting in a signed agreement in April 2025 for a five-year loan of the bronze plaque.
By July 2025, the plaque was reinstalled in the DAM’s Arts of Africa gallery, complete with an interpretive label detailing its history and the narrative of colonial plunder it represents.
This partnership with the NCMM marks a significant step in acknowledging the broader context of African art and the implications of historical injustices.
The DAM intends for museum-goers to not only appreciate the artistry of Benin but also to gain insight into the complex histories surrounding these artifacts, fostering a deeper understanding of West Africa’s cultural landscape.
Importantly, restitution is understood not merely as a logistical act of returning stolen objects but also as a slow, trust-building process.
This process often requires effort towards repairing and healing relationships with African communities, recognizing that past injustices leave lingering impacts.
The partnership serves as a means of amplifying dynamic African histories that have often been overshadowed or obscured, allowing for a richer dialogue about cultural exchange and historical interactions.
An interesting detail often overlooked regarding the Benin bronzes is how trade with the Portuguese during the fifteenth and sixteenth centuries influenced brass casting in Benin.
The influx of brass ingots from Portuguese traders was critical, as it provided the necessary materials for the flourishing brass casting industry, highlighting the interconnections between African cultures and external economies.
This narrative emphasizes that the cultures of West Africa thrived through trade, movement, and the interchange of ideas, far from being isolated entities.
The DAM’s initiative to engage with the NCMM represents a transformative approach to restitution—one that prioritizes collaboration, respect, and mutual understanding.
While investigations into provenance revealed gaps in knowledge, the repercussions of these efforts have the potential to reshape relationships between institutions and the communities with whom they work.
Looking ahead, in spring 2026, the Native Arts and Provenance departments at the DAM plan to hold a lecture that will address topics of restitution and the collaboration with partners from the NCMM.
Such engagements are vital for fostering meaningful dialogue and understanding historical contexts that shape contemporary cultural narratives.
Through these initiatives, the DAM not only commits to ethical stewardship of its collections but also plays a pivotal role in challenging narratives around colonialism and art ownership, ultimately enriching the experience of its diverse audiences.
image source from：denverartmuseum
