Building on the foundation of Volume I, Art of Nigeria: 511 Tribes Explored – Volume II (C-I) illuminates the artistic traditions of central and southern Nigeria through over 500 pages dedicated to some of the nation’s most influential ethnic groups. From the iconic Igbo and Hausa to the Chamba, Efik, Fulani, Ibibio, and Ijaw peoples, this volume documents major cultural centers alongside lesser-known communities, featuring hundreds of first-time-published objects drawn from Peter de Jeu’s authenticated collection amassed during five decades of exploration.

This pivotal installment in the five-volume encyclopedia presents ancient bronzes and ivories scientifically verified to 2,500 years old, terracotta works from Igala archaeological sites, and wooden sculptures by master carvers among the Ebira and Gwari. Each artifact includes rigorous authentication, detailed provenance, and contextual narratives that bridge ritual significance with contemporary scholarship. High-resolution photography reveals the beadwork innovations of the Gwari, the metalcraft mastery of Hausa casters, and the ivory carving techniques of Ibibio and Efik artisans.

Invaluable for art collectors seeking provenance resources on Nigeria’s most collected ethnic groups, scholars conducting cross-cultural analyses of central Nigerian traditions, and cultural institutions developing exhibitions on major West African artistic centers, Volume II strengthens the series’ documentation of Nigeria’s cultural mosaic. Presented bilingually in English and French, this limited-edition volume continues the most comprehensive survey of Nigerian tribal art ever undertaken.

What Makes This Volume Unique

• Central Nigeria’s cultural heartland: Over 500 pages exploring tribes including Chamba, Dakarkari, Ebira, Efik, Fulani, Gwari, Hausa, Ibibio, Igala, Igbo, Ijaw, and their sub-groups. Covers some of Nigeria’s most studied ethnic groups alongside obscure communities, providing unprecedented comparative analysis opportunities.

• Iconic and undocumented traditions combined: Documents both celebrated

artistic centers like Igbo bronze casting and Hausa leatherwork traditions, and first-time publications from remote Chamba, Dakarkari, and Gwari villages. Hundreds of objects appear here for the first time, contributing to the series’ total of over 5,000 documented artifacts.

• Verified ancient artifacts from major centers: Features bronzes from Fulani and Hausa casting traditions, ivory carvings showcasing Ibibio and Efik techniques, terracotta works from Igala archaeological sites, and wooden sculptures by Ebira and Ijaw master carvers. Authenticated pieces include ivories scientifically dated to 2,500 years old with complete testing documentation.

• Trade and migration influences revealed: Documents how trans-Saharan trade routes, Niger River commerce, and inter-ethnic migration shaped artistic innovation across C-I groups. Reveals previously unpublished connections between Hausa metalwork, Fulani nomadic artistry, and riverine Ijaw traditions.

• Bilingual scholarship for international reach: Complete English and French text ensures accessibility for museums, universities, and collectors across global Francophone and Anglophone regions, maintaining the series’ standard as the definitive international reference.

What’s Inside

• Major ethnic groups and sub-communities: Comprehensive profiles of Chamba, Dakarkari, Ebira, Efik, Fulani, Gwari, Hausa, Ibibio, Igala, Igbo, Ijaw, and their variants, with historical context on settlement patterns, spiritual practices, and artistic lineages that shaped central Nigerian creativity.

• Diverse materials and techniques: Bronze castings from Fulani and Hausa metalworking traditions, ivory carvings demonstrating Ibibio and Efik mastery, terracotta sculptures from Igala archaeological contexts, wooden figures by Ebira and Ijaw carvers, and beadwork innovations from Gwari communities reflecting trade-influenced aesthetics.

• High-resolution documentation: Museum-quality photography capturing aesthetic innovations in masks, ceremonial objects, utilitarian tools, and prestige items, with exceptional detail revealing surface textures, patination patterns, and workshop-specific techniques.

• Authentication and provenance: Scientific testing results, age verification documentation, and collection histories tracing each object from ritual context or workshop origin through Peter de Jeu’s fieldwork documentation to contemporary scholarship.

• Ritual and social significance: Detailed analyses of ceremonial uses, spiritual symbolism, social hierarchies expressed through artistic patronage, and the role of objects in initiation rites, ancestral veneration, and communal identity formation.

• Technical and material studies: Examinations of lost-wax casting methods, ivory carving tool marks, wood species identification, pigment analyses, and comparative studies revealing workshop traditions and individual artist innovations.

• Geographic and cultural mapping: Maps illustrating tribal territories, trade routes that facilitated artistic exchange, migration patterns linking C-I communities, and cultural interaction zones where hybrid styles emerged.

Who's This Is For

• Museum curators: Developing exhibitions on Igbo, Hausa, or Yoruba-adjacent cultures; conducting comparative studies of West African metalwork and ivory carving; or authenticating pieces from Nigeria’s most collected ethnic groups.

• Art collectors: Building Nigerian art collections focused on major ethnic centers; requiring authoritative provenance documentation for Ibibio, Efik, or Igbo pieces; or seeking comparative material for authentication of bronzes, ivories, and wooden sculptures.

• Academic researchers: Studying trade networks, cultural exchange, and artistic innovation in central Nigeria; conducting ethnographic research on ritual practices; or analyzing the influence of Islam and Christianity on traditional artistic production.

• Cultural institutions: Libraries and universities supporting Nigerian studies programs, cultural centers serving diaspora communities with ties to Igbo, Hausa, Ijaw, or Efik heritage, and preservation organizations documenting endangered artistic traditions.

• Nigerian and African diaspora: Communities and individuals reconnecting with ancestral traditions from specific ethnic groups, tracing family lineages, or celebrating the artistic achievements of central and southern Nigerian peoples.

• Design professionals: Interior designers, textile designers, and architects drawing inspiration from African motifs, seeking authentic references for pattern work, and developing culturally informed aesthetic concepts.