Loot: Britain and the Benin Bronzes

by Barnaby Phillips

A tragic story of the British empire run amok and the plunder of great works of art

A Prospect Best Book of 2021

‘A fascinating and timely book.’ William Boyd

‘Gripping…a must read.’ FT

‘Compelling…humane, reasonable, and ultimately optimistic.’ Evening Standard

‘[A] valuable guide to a complex narrative.’ The Times

In 1897, Britain sent a punitive expedition to the Kingdom of Benin, in what is today Nigeria, in retaliation for the killing of seven British officials and traders. British soldiers and sailors captured Benin, exiled its king and annexed the territory. They also made off with some of Africa’s greatest works of art.

The ‘Benin Bronzes’ are now amongst the most admired and valuable artworks in the world. But seeing them in the British Museum today is, in the words of one Benin City artist, like ‘visiting relatives behind bars’. In a time of huge controversy about the legacy of empire, racial justice and the future of museums, what does the future hold for the Bronzes?

Genres: History, Nonfiction, Art, Africa, Audiobook, Art History, Museums

400 pages, Hardcover

Published May 11, 2021

About the author

Barnaby Phillips is Director of Communications for the Elephant Protection Initiative, (EPI) working to conserve Africa's elephants. 'Loot- Britain and the Benin Bronzes' (2021) is his second book, after 'Another Man's War' (2014). Previously Barnaby was a journalist for 27 years with the BBC and Al Jazeera, based in Mozambique, Angola, Nigeria, South Africa and Greece. He now lives in London.

Reviews

[Andrew · Rating 5 out of 5]

I have viewed the Benin Bronzes and Carvings at the British Museum in London on several occasions and was somewhat familiar with the story of how these beautiful pieces were stolen from Benin by a British expedition in 1897. But I didn't fully appreciate the entire history and the significance to the people of Benin until reading "Loot: Britain and the Benin Bronzes" by Barnaby Phillips.

These artefacts have ended up across the world, in Museums that we know about and private collections that we don't and, on occasion, in quite unexpected places.

The book tells the story of the initial sacking of the city, and not just from the British perspective. And no mention of these pieces would be complete without focusing on the many discussions which have taken place over the years about returning them.

Overall, "Loot" is well written and was, for me, a very captivating read. I would highly recommend it to others.

Here is an interesting piece on the Benin Bronzes by Channel 4 - https://www.channel4.com/news/nigeria....

[Shahin Keusch · Rating 4 out of 5]

Saw this book while I was in the British Museum. It's all about the dark side of Museums in general. It focuses on the Benin Bronzes and on how the artifacts of the ancient city of Benin ended up in European museums and the struggle to get them back to Africa. Well worth the read. 

[Christine · Rating 4 out of 5]

Disclaimer: ARC via Netgalley.
One of the results of colonialism is the taking of important objects of art or history from their original country or area of origin. So, if you want to see the famous bust of Nefertiti, you have to go to Berlin, despite how completely it seems to stand for Ancient Egypt. Of course, Egypt wants it back; of course the Neues Museum basically says no. Perhaps, the bust isn’t the best way to start this review as one could argue that the transfer was far more legal than the stealing of Benin Bronzes by the English, but it raises the same question, a question that I have difficultly answering – what should happen to artifacts that were taken or stolen, should they be returned. On one hand, yes, you want to shout, of course. But part of me will always remember how excited and happy my student was to see an Egyptian artifact at the Penn Museum. The artifact had the name of a pharaoh we had been reading about. I have never seen a student so excited. And there is no way that a English class at a community college is going to get a funded trip to Egypt. Perhaps items of great, cultural worldly value should be held in common – of course this means sharing the 200 plus editions of the first Folio of Shakespeare’s works in all country as well as say private ownership for some things should not be an option.

Thankfully, Phillips book is not about such an total question. Phillips concerns himself with the Benin Bronzes and other cultural artifacts, which were stolen from the Kingdom of Benin (today part of Nigeria) by the British. The book is part art history, history, and travelogue as well as an examination of the debate and struggle to reclaim what was stolen. (Note: the Republic of Benin is a difficult country.)

If you have seen Marvel’s Black Panther, you have seen a Benin Bronze; it’s in the scene with Killmonger in the museum, though Killmonger declares the work is from Wakanda. While this opens a host of questions including why attribute the work of art to a fictional kingdom, especially when those white people who first saw it claimed it was done by Egyptians or Europeans, it does tie into the questions that Phillips is examining. (It is interesting to note that the Dora Milaje are based on the Kingdom of Dahomey’s, now the Republic of Benin, all woman regiment).

Philips starts with the British Museum and the arrival of Prince Gregory Akenzua to see the works. This included a trip to the stores to see those items that were not on display. We also get Benin artist Victor Ehikhamenor’s experience viewing the items on display. From there, Phillips takes the reader to how the Bronzes and other works most likely were made as well as the cultural and religious importance of the items. We then travel back in history to the first meeting between Europe and Benin as well as the events leading up to and including the destruction of the kingdom at the hands of the British. The reader is not simply presented with the debate over where the artworks should be, the reader is presented with the complete context and history of the debate.

While Phillips appears to side with Nigeria and Benin (and how could you not), he does present a very even handed approach. He doesn’t just look at the museums which house the looted works, but also those works that remained in private hands, even in dealing with descendants of those looters. Some of these descendants have returned the works, some wished to but put finically stability of the family first (and considering the current state of the world, I’m not sure how moral I would be either). He looks at the influence that the quest for return of the works has had on the works of Nigerian artists, in particular film makers as well. In tackling the question of safety of the looted works if returned to Nigeria, he does relate the stealing of cultural works in Nigeria itself; however, he also points out and details such robbery occurring in European museums, questioning exactly what is meant by safe. He looks at the impact of films like Black Panther on the question as well as the impact of the recent protests.

Phillips’ writing is engrossing and he is an excellent story teller. He possess an ability to look at the issue from various views and points, and to let the reader experience that view with him. The book is a great read about a very important issue and event.

[Vintagebooklvr · Rating 4 out of 5]

4 1/2 stars. This is a timely and current (some of the information is not a year old) book about racism, imperialism, and the legacies of an expedition/retaliatory strike of the British against what was the African Kingdom of Benin in 1897—and, of course, the actual expedition/retaliatory British action in 1897. In particular, it is focused on the exquisite Benin Bronzes that were looted by the British and then dispersed to end up in many places, including in the British Museum and the quest to return them to the Benin people.

This book is not just a crusade to bring the loot back to the Benin people who are largely in what is today Nigeria. It shows how the issues are complicated. It is not realistic to expect all of the museums and private collectors of the world to empty their collections and return all pieces to their places of origin. Let’s face it, humans, of any color, religion or political creed are possessive and greedy. It is not going to happen. Even the Benin people don’t agree how much, when, or how the pieces should be returned or where they should reside. Nor is it as simple as saying just return the pieces. Many institutions have procedures or business by-laws that cannot be violated without serious legal repercussions or disruptions to the foundation of the institution. In the case of the British Museum, an act of Parliament is involved. But it can be done. It was done in the case of returning items to Jewish families that were taken during the Holocaust.

Race is a sensitive issue. There is no question that race is a major subject in this work. So comes the question, what is the race of the person who wrote this book? Should it matter, does it matter? I think it does though it isn’t made a big deal in this book. It is clear from early on that the person writing this book isn’t a person of Benin descent, but someone British. If readers don’t pick up on things earlier, it is clearly stated later when the writer speaks of visiting Benin and mentioned to be one of the only white people on the flight. Would a person of Benin descent be able to get this book published in English?

The writer has been very critical of the British Empire and the people that made up the British Empire. People are distinguished as being different, with different attitudes and different behaviors, not just one mold fits all. The Benin kingdom is not depicted in just the golden halo of a perfect place, but people with different motivations and sometimes conflicting actions. The writer also explores reports of human sacrifice and the decaying nature of the Benin kingdom. In other words, people and countries are not all evil or good but the very contradictory and very human.

Some would question is this book or issue important when so many other incidents are happening that are more urgent, more vital, more literally life and death. Yes, it is important. It is important because it deals with the legacy of horrendous actions and attitudes that continue to affect people and society today. It is important because it deals with museums and institutions that physically and, perhaps, subconsciously, represent values and the way a community presents itself to itself and to others. Think about it. When you visit another area, either in your own country or another, sightseeing almost always includes museums. School field trips are to museums to learn about history and society. What you see and read on the placards form an impression because the source is viewed as an authority.

Museums, usually, are conservative. It usually takes time for things, people and events to garner enough of a reputation for them to be considered important enough to be included in a museum or a collection. But things can change and do change. Museums have begun to put new narratives up that include the pov of the other side, to acknowledge how devastating and violent wars, incursions, or what ever word used to describe an invasion were. This is important, not to just acknowledge the real violence and damage of the past so we can come to terms with it—and not just this one incident in this one place and time but many countries and people did to many others throughout time—but to move forward and also educate people that things are complicated and reflect our hopefully changing values.

Two things will stick in my mind long after I have moved onto other books. One is how the British actions seemed to have made an indelible mark on the Benin people, how many people knew exactly what the writer was speaking about and knew names, etc. On the other hand, how little it affected the British people. British people, in general, have not remembered this event. They know the British empire took military action against countries, including African countries, but don’t recognize this particular one. They might not even recognize the title Benin Bronzes. How true is this of big, powerful empires, countries, business and people? They don’t usually see the effects in smaller cases.

The other is the impact of Benin people viewing the Bronzes in the British Museum. Some were profoundly moved and brought to tears, feeling that their relatives were imprisoned. They felt anger and sadness. Others felt immense pride. These were cultural ambassadors of their society. They are in one of the most well-known museums in the world and millions of people can see their cultural achievements. It is an argument against those that claim Africans have no or had no civilization or artistic accomplishments. The ironic thing is that pieces can go for millions of dollars.

Another thing I think worth noting is the author mentions how racial attitudes changed during the 1800s, becoming more rigid and hierarchical. Many British people became more racists. This has been noted in other works about racist attitudes in the British Empire, this is not just the thinking of one writer. This is important to Britain, the U.S. and other places. Racism can grow and become more prevalent and more rigid. It can become worse. But it also can get better. A warning and a piece of optimism.

There is too much biographical information regarding the many individuals involved in the British action in 1897 and of some of those involved in dispersing the artifacts. Some is useful and even needed but I thought there was too much, particularly when it wasn’t then used to make some sort of correlation or something about class and behavior. It just seemed if that much information was included it was for some sort of conclusion or theory.

Thank you to Netgalley and the publisher for an ARC in exchange for an honest opinion.

[Leanne · Rating 5 out of 5]

Outstanding book on what is one of the most egregious cases of art plunder in history. I will always believe that journalists write the best books. The training helps those with journalism backgrounds nail the facts and get the interviews. They also know how to work with narrative. As a British man, he allows himself the space to be outraged. It is the under current of the book that the bronzes must be returned. Hearing of how the city was razed and more than the ancient kingdom losing its bronzes, the kingdom itself almost disappeared. I had no idea about the ancient walls of the city--longer than the great wall of China? The title says it all... I really loved hearing about this area of modern-day Nigeria and his descriptions of place and culture were so superb, I really felt myself wanting to visit Nigeria.... someday? The author has a long career in Africa but not in art history of in the legal matters involved with the repatriation of looted art. I thought he did an excellent job covering both topics. It was moving for me to read. Brilliant and compelling writing!

[Honor · Rating 5 out of 5]

Utterly fascinating and engaging history of colonial pilfering of native treasures. I teach Benin as a history module and I now have an entirely different perspective from which to direct. Whilst I realised the tragedy surrounding the Benin bronzes I had no idea of the controversy and policy faux pas surrounding their return.

[Pamela · Rating 5 out of 5]

Some years ago, I visited the British Museum and was fascinated by the skill and craftsmanship of the Benin Bronzes that form the subject of this book. Of course, I was fortunate to be able to see these artefacts in my native country, and this was only possible because they were looted from the Kingdom of Benin (now part of Nigeria) in 1897 by British soldiers and officials. Barnaby Phillips tells the story of the raid, the fate of those who took part and the stolen artefacts, and examines the role of museums and governments dealing with these issues in a post-colonial context.

This is a thoughtful and well researched book by an author who has lived in Africa and met many of the key players in the modern campaign to return the artefacts (despite the name, they are not all bronze, and include such items as ivory tusks and weapons as well as the noted bronze sculptures) to Nigeria. The historical context of Rawson’s ‘punitive raid’ on Benin City in the opening chapters is throughly described so that the motivations of both sides of the conflict are clear, even if the events themselves are quite horrifying. I found the chapter dealing with the fate of the participants particularly interesting.

The later part of the book deals with the campaign to have the items returned, and Phillips shows balance in presenting all the arguments. At a basic level it seems obvious that looted items should be returned, and there is precedent from the approach taken with items stolen during the Holocaust, but Phillips shows that even in Nigeria there are a range of opinions on the matter. Some individuals and museums decided to sell or donate their artefacts to Nigerian museums, but in the political turmoil of the mid 20th century many were stolen and sold back abroad, or even presented by the President to Queen Elizabeth II! This leads to a wider discussion on the purpose and obligations of museums, the assumptions about European values as custodians of art, and the special position of the British Museum whose actions are controlled by legislation. It is all fascinating, well argued and explained, and very readable.

This was a brilliant book that I thoroughly enjoyed reading. It challenged simplistic views about how we view and deal with the colonial past, and offers a positive view of the potential for collaboration and reconciliation in the future.

[Maja · Rating 5 out of 5]

This was a beautifully constructed and thoroughly researched account of the Benin Bronzes history. It is incredibly engaging and, despite having loads of intricate detail, doesn’t get bogged down in dates and names. It’s easy to read and tells you everything you need to know with varying perspectives that cover a wide debate. It considers the impact of colonialism and the bronzes impact on other similar objects. There is a narrative which runs throughout the book and makes it far easier to follow as the history unfolds in your mind. This also creates a high level of emotional engagement. I was incredibly invested in this book and loved every minute of it. That being said, I do think the writer could have solidified clearer conclusions in some areas.

[Steve Sargent · Rating 4 out of 5]

What a tragic, painful, complicated story about these magnificent works of art. An informative read of past events with contemporary and lingering significance.

[Lyazzat · Rating 5 out of 5]

Brilliant execution of the book. Also, fortunate to see the Mother Mask and other looted items in British Museum, though hopefully one day all artifacts can find a way back to original motherland.

[Ed Stoddard · Rating 4 out of 5]

An interesting narrative on a vexed subject that has widened my knowledge of Nigeria and Britain.

[Darian · Rating 5 out of 5]

I loved this book so much, it had so much great info I can’t wait use for my class!

[Hannah · Rating 5 out of 5]

An excellent read for those looking to learn more about Nigeria and colonialism!

[Shammah Godoz · Rating 4 out of 5]

Loot is a history. A retelling of a story that has not been told in a while.

[LENGDUNG TUNGCHAMMA · Rating 5 out of 5]

I picked up this book because I wanted to learn about the efforts toward repatriation. But I got more than that. I got a solid history of Benin—the kingdom, the sack, and the journey of individual Benin Bronzes now scattered across the world. It also turned out to be an illuminating read on Nigeria—before colonialism, during it, and after.

When I started the book, I was indifferent about the return of the Bronzes. Now, I’m firmly in support of repatriation. Not because Philips was pushing just one side—he presented the arguments from all angles. But once you examine the international laws involved, it’s hard to stay neutral. And beyond legality, the cultural value these objects hold—and what they could mean for Nigeria’s mindset and development—is enormous.

Thank you, Philips Barnaby, for this important book.

[2TReads]

Journalist Barnaby Phillips' Loot: Britain and the Benin Bronzes takes us through a history of brutal colonial thievery, cultural significance and practices, art forms and the growing movement towards returning the plundered cultural wealth to their places of creation.

He traces the rise of the working of bronze in Benin Kingdom and how the pieces were displayed as well as how the practice and skill was passed down.

To tell the history of the Benin Bronzes and how so many of them ended up in Britain and Europe, Phillip's uses historical records, letters, journal entries, newspaper articles, and interviews that trace the rise and fall of the kingdom, the changing faces of trade, the introduction of religion and the carving up of the region by European imperialism.

He also examines the many skirmishes, battles, and other military activities that occurred, the changing of power dynamics, the need to squash any inkling on the part of the African leaders and their people to curtail the interlopers' presence and dominance in their lands.

It is clear from many of the journal entries of the soldiers, sailors, political emissaries, governors etc., how callously and with utmost entitlement the interlopers viewed the land, people, and resources.

Loot also looks at the stories that were spun by British officials to legitimize their callous invasion of Benin, that naysayed the origin of the Benin Bronzes and the lascivious tales created in order to market and sell the cultural treasures that they had stolen, the interactions and interpretation of the creation of the Bronzes: their origins and influences.

Phillips also presents sides to the argument of the return of the Bronzes: there are concerns over the housing, conservation, and protection vs the return of these artifacts to the environs and climate in which they were created. I find it deeply unsettling and darkly hilarious that these museums can put forth all sorts of excuses for refusing or delaying to return stolen pieces of a people's history, that they have continued to benefit from, by acting as though they are doing the people of Benin a selfless favour.

[Karl · Rating 4 out of 5]

I did not know anything about the Benin Bronzes before reading this book. Initially stolen as trophies by representatives of the British Empire, literally men in pith helmets from historic cliche. This covers the looting of the artefacts from their cultural context and traces them over the past 100 years through museum acquisitions, private collectors and European auction rooms. More recently the bronzes have become symbolic to many nations wishing to reclaim elements of their cultural history that were stolen in the past. The museums and institutions claim that the lines are blurry but that argument seems to melt when discussing items of Nazi looting? This book opens up issues of Imperialist and Colonial looting from cultures as obscure as tiny South Pacific islands or as well known as the marble friezes of the Athens Parthenon.

[Tim Cocks · Rating 5 out of 5]

To anyone interested in the shocking tale of the Benin Bronzes, colonial loot in general & the debate over its return, Nigerian history, the British Museum or the shady world of art dealing, I recommend the superb ‘Loot’ by Barnaby Phillips. A cracking read, fair and balanced but also damning of Britain’s pillaging expeditions in Africa. The chapter on the British invasion and wholesale destruction and pillage of Benin City is one of the most exciting retellings of a British colonial battle I have ever read. Page turner. Compassionate and thrilling, it manages to maintain a strong ethical compass throughout but without being unduly or predictably judgy.

[Keith · Rating 5 out of 5]

A fascinating read. Stylish and accessibly written, it gives just the right amount of detail to cover Benin's history relating to the their stolen art treasures. The author treads a careful line between objectivity without hiding behind the prevailing sense that restitution is long overdue. Thoroughly recommended.

[Marion · Rating 4 out of 5]

Splendid! Another perspective on the current dialogue/debate on the thorny subject of *things* stolen (e.g., land, art and artifacts, lives, livelihood, and so much more) from their original owners and what to do about it. This one is a detailed history of the Benin Bronzes stolen by the British in 1897, many of which are still on display at - or stored in the basement of- the British Museum.

[Paul · Rating 4 out of 5]

Well written, timely recounting of the looting of west African art and artifacts, and of the struggle to repatriate them.

[Whitlaw Tanyanyiwa Mugwiji · Rating 4 out of 5]

The debate is still ongoing whether the Benin Bronzes held in London’s British Museum and many others museums across Europe and the USA should be returned to Nigeria. What Barnaby Phillips does exceedingly well in this book is begin that conversation right at its origin.

As a result, reading the book was like going on a rollercoaster journey through time. From precolonial Benin right up to as late as 2018. In short the book is a story about colonialism, pillage and plunder. It is about Africans trying to recover their stolen artefacts and also about the arrogant British who are flatly refusing to return the stolen property to its rightful owners.

The Benin empire was one of the oldest and most highly developed states in west Africa. When the Portuguese first came to Benin in 1485, they described Benin City as one of the most beautiful and best planned cities in the world. Dapper a 15th century Dutch anthropologist described ¨Benin City¨ as magnificent and elegant. The Portuguese Lourenco Pinto writes in 1691, “Great Benin, where the king resides, is larger than Lisbon; all the streets run straight and as far as the eye can see. The houses are large, especially that of the king, which is richly decorated and has fine columns. The city is wealthy and industrious. It is so well governed that theft is unknown.” To put things into perspective, London during the same period was described by Bruce Holsinger, professor of English at the University of Virginia, as being a city of “thievery, prostitution, murder, bribery and a thriving black market made the medieval city ripe for exploitation by those with a skill for the quick blade or picking a pocket”.

However, when the British came to invade and eventually loot Benin of its treasures the narrative had changed. As the African saying goes, when the hyena wants to eat its children, it first accuses them of smelling like goats. True to fashion, Sir Richard Burton writing in 1863 says, the Edo (Benin) people are uncivilised and barbaric. It counted for nothing that the Edo people had built the famous ¨Benin City¨, with walls four times longer than the Great Wall of China. To the British, they were primitive people who sacrificed their fellow human beings to occultic gods. They were therefore uncivilised barbarians who had to be saved from themselves.

The soldiers who pillaged and plundered Benin and later burnt it to the ground described their loot as mainly comprising of primitive artefacts. Fast forward two decades later, art historians discovered that the artifacts were of very high quality and were made using a highly sophisticated technique. A technique that had been used in Europe during the renaissance period. The narrative immediately changed. These artefacts must have been brought by the Portuguese, they said. This is despite the fact that the Portuguese never produced anything close to these Benin bronzes in their history. With this discovery, their demand across Europe and the US increased and likewise their prices soared. According to the book, there was an artefact that was recently sold to a private collector for a record fee of over $10 million dollars.

The debate on the return of the stolen Benin bronzes was escalated in 1974 by the Nigerian government, when they asked the British Museum to loan back a mask they wanted to use for their FESTAC festival. The plea was rejected on conservation grounds. They claimed that the humidity in Nigeria would damage the artefact. How disdainful. However, the Nigerians continued demanding the return of their Bronzes. After the emergency of the black lives matter movement, the calls for the return of the bronzes was re-energised. The British argued that they were not going to send them back, but even if they wanted to, Nigeria did not have adequate facilities and resources to look after these precious artefacts. This is akin to a thief who has been caught with a stolen car, telling the owner that they will only return the car once the owner has built a secure garage and secured a good job to enable him/her to look after the car. It would have been comic if it had not been tragic.

Its an excellent book, thoroughly enjoyed it and learned a lot of new things.

[Joshua Horn · Rating 4 out of 5]

I believe that I would have some very different conclusions than Phillips does on the Benin Bronzes, what should be done with them, and Nigerian history in general. Despite this, it seems that he did a fair job presenting the facts and the opinions of various Nigerians and other modern parties.

The controversy of the Benin bronzes is centered around the events of 1898 in which the Benin empire slaughtered an unarmed party of British who were travelling inland to continue negotiations. There is a small blemish on the British record, as it seems that they were contemplating a preemptive invasion on dubious grounds. Yet that does not justify choice by the Benin to massacre them without warning. This part of the book is a pretty exciting story, as a British column is assembled, and sent into the interior with far too little water (and the unfortunately belief that Africans need less water than whites). The Benin government is shown to be a truly evil empire, complete with cruel slavery and sacrifice. There are stomach turning stories of the many victims of human sacrifice that the British encountered as they moved into the country. When they captured the capital, I was entirely sympathetic to their cause. They seemed to proceed with the conquest in largely appropriate form. It is definitely the story of judgment coming on a wicked nation.

Their controversial action, which sets up the rest of the book, is that they loot the bronze statutes and masks from the city. This seems entirely justifiable to me. If you loose a war, especially after the types of atrocities the Benin committed, it is entirely reasonable that you loose your precious possessions. That is how it worked in Biblical times, and how it has worked throughout history. The return of art plundered by the Nazis comes up, but this example does not apply. The Nazis lost (thankfully), so their loot was taken back. If Nigeria ever conquers Britain, I would expect them to seize all the bronzes. Until then, if the bronzes are returned, it is only out of the goodwill of the current owners.

The rest of the book is about the later history of the bronzes, which certainly had some interesting points. Complaints about them seem to just be a way for Nigerians, and in particular the government, to divert attention from their current problems to supposed injustices of the past. The reality is that Nigeria has a lot of bronzes, but due to their dysfunctional society they don't even display what they have. It is entirely reasonable that western museums worry that the valuable artifacts will be stolen and sold on the black market.

I appreciated the perspective referenced of some Nigerian Christians - they refuse to work on the museums which host the bronzes, saying that it is wrong to display and honor idols on such a manner. More sound than a lot of American Christians.

One interesting side note was the substantial ivory trade carried on by the Africans with European nations. They were shipping out massive amounts of ivory - far more than is on the entire continent today. Certainly puts oft cited plundering of natural resources by colonizers in some perspective.

[George Vernon · Rating 5 out of 5]

Meticulously cited, well balanced, and an essential read if the aim is to gain a reasonable understanding of what happened a hundred years ago on the coast of modern day Nigeria.

The book can be split into roughly three sections: the first is the historical background of colonialism in and around Benin City through 1897, the second describes the history of the looted objects themselves in collections, museums, and auction houses, and the third section describes the politics of Nigeria around its national antiquities (Phillips describes conflicts between the Nigerian national government, the oba, and the Edo state) and the current (2021) state of efforts to return bronzes to Nigeria. Phillips makes no particular point of arguing why he thinks the bronzes should be returned to Nigeria, as the reader is supposed to take this for granted after surveying the facts.

The space it takes me to discuss the book's flaws is disproportional to how serious they are, but it is quicker for me to point out what is bad about this book than all that is good:

Phillips has a Nigerian bias which detracts from the quality of the book when he dismisses unfavourable counterpoints. In one case he questions the truthfulness of events which are consistent between three different British accounts (§6), and does not explain to the reader why. (The corroborated claim being that Phillips was taken into Benin city with three other white people the day after the massacre, gagged, bound, and beheaded there. I can only assume it is true.)

Similarly, dismissing Ekhaguosa Aisen's complex views on the bronzes (§16) on the basis that he's elderly and privileged feels nasty, when it would have been better (and of course more difficult, as the two things come hand-in-hand) to construct proper rebuttals.

Lastly in (§7) the author is disingeneous when he invents phrases that Cap. Walker didn't say: 'Surely they didn't make this themselves?', and then in the acknowledgements thanks Mark Walker for his help and expresses a hope that he has 'been fair to the [Walker] family history.'

It is a great shame for an otherwise excellent book to have these avoidable faults, but it stands as an excellent guide to the Benin bronzes and their history.

[Stefanie Robinson · Rating 3 out of 5]

The Benin Bronzes are a group of several thousand metal plaques and sculptures that decorated the royal palace of the Kingdom of Benin, in what is now Edo State, Nigeria. The plaques depict the history of the kingdom. Most of the plaques and other objects were taken by British forces during the Benin Expedition of 1897. Following the expedition, artifacts were transported to many museums in Europe, with a large display being held at the British Museum. Since gaining independence in 1960, Nigeria has sought the return of the bronzes on several occasions, with some being audaciously SOLD back to them. I hope to see more agreements worked out in the future that do not include people having to buy back their stolen art.

This book is currently available to listen to on Audible plus. It can be completed in one working day, as that is how long it took me to complete it. The physical copy is around 400 pages for those of you who would prefer a book to hold in your hand. I thought this book was really interesting. It is pretty common knowledge that Britian was very imperialistic and took things that did not belong to them. It is nice to see some objects being repatriated to their respective countries or other loan agreements being reached. It is sad to think about the loss of people's culture and history over the centuries, despite some people being able to view them in a museum setting. I enjoyed learning more about these bronzes and the people that created them.

[Rachel · Rating 5 out of 5]

Definitely one of my new favorite books! Part social history of the Benin Kingdom, part art history of the Bronzes, and part analysis of the legal justification for their return.

To me, the most interesting part of the book dealt with how pre-invasion, the bronzes were sacred, ceremonial objects - not art. But, the British plundered the Oba's palace and brought them back to London, where they were housed in museums and private collections. When Nigerians called for their return, however, the British insisted that the Nigerian museums could not properly care for the delicate Bronzes. This argument proved very frustrating to Nigerians because the Oba and the casters of the Bronzes wanted the objects to have an active role in Edo religious, cultural, and political life - not a passive existence in a sterile museum. So by looting the Bronzes and refusing to return them on the grounds that Nigeria did not have a safe, adequate museum to house them, the British essentially destroyed the original meaning and significance of the Bronzes.

Sir David Adjaye's more interactive museum hopes to strike a balance between British/European demands and Nigerian culture, but there are still challenges ahead for the future of the Benin Bronzes in Nigeria.

[Laurie Reemeyer · Rating 5 out of 5]

I found this book in Blackwell Bookstore in Oxford a couple of months before traveling to Nigeria. It was fantastic to read while visiting Benin City and National Museum Lagos, my observations were congruent with the book. Well researched and empathetic, I really enjoyed the description of people and places to set the historical context of cultural artifacts from Benin Kingdom and where they are today. Barnaby respectfully addresses some of the dilemmas of those in major museums with respect to provenance, historical context in displays, preservation and maintenance of artifacts and the ethics of ownership of culturally significant pieces acquired by colonial conquest. He also documents the views of some individuals who convince themselves of the legitimacy of holding onto treasures from Benin acquired under dubious circumstances and while describing his feelings from these encounters, allows the reader to form their own conclusions about these people. I learnt a lot from this book and highly recommend to anyone interested in African history and culture.

[Miriam · Rating 5 out of 5]

A measured, insightful and extremely engaging examination of the Benin Bronzes. Phillips does a masterful job of laying out both the historical atrocities and the contemporary complexities of the situation. He draws widely on relevant sources and experts, and argues powerfully that the Bronzes are spoils of appalling colonial plunder. He demonstrates persuasively that the punitive expedition on the Benin capital was viewed as troubling even at the time, and while he offers no simplistic solutions, he is clear-eyed about the moral imperative to return the bronzes. He is particularly good at bringing stories (both historical and contemporary) to life with fascinating details of the individuals involved, so that the book is never dull or dry. This account of the bronzes felt both authoritative and compassionate, and impressively researched. A terrific achievement and an enjoyable read.

[Kemp · Rating 3 out of 5]

Dare I say all museums have piece of art taken from another country or civilization? It’s an dilemma whether museums should return pieces of art taken during colonialization. This book delves into that question around the Benin Bronzes taken from Nigeria by Britain. Many are on display in the British Museum but others are held in private collections.

Phillips covers a lot of ground from the history of the Bronzes and their acquisition, how their valuation changed over time, and the actions of a few people to return some to Nigeria.

The story is told in a chronological sequence with the names of a lot of people across time that played a part in the collecting, keeping, or returning various pieces. I felt the story went on longer than I wanted and, while raising the question of returning these artifacts, Phillips left the bigger question alone.

3.5 stars, rounded down.

[Greta K · Rating 4 out of 5]

This book was perfect for me as someone who essentially already knew the whole summary of the moral argument surrounding the Benin Bronzes but didn’t really know any of the historical or political specifics. The amount of detail was great and I thought it struck a good balance between most of its sub-topics (history, evil art dealers, individual stories of the bronzes, current political negotiations, etc.). That being said I do think it would probably have benefited from cutting down a bit on the nitty gritty life stories of private British bronze owners / looters and replacing them with more Nigerian perspectives.