Six decades after, the widely-celebrated Queen Elizabeth II sculptural masterpiece by Ben Enwonwu has ‘resurrected’ in Lagos. Unveiled last Tuesday, the iconic work was showcased at a special exhibition titled “Building A Nation: Ben Enwonwu and the Impact of Sculpture”, in collaboration with the National Commission for Museums and Monuments (NCMM), Coronation Group Ltd and Bonhams, a UK-based auction house, OZOLUA UHAKHEME, Assistant Editor Arts, reports
After 68 years, Ben Enwonwu’s iconic Queen Elizabeth II sculpture received a special showcase by the National Commission for Museums and Monuments (NCMM) in Onikan, Lagos, featuring a permanent display of the various stages of its creation. For decades, this invaluable artefact had been securely housed by the NCMM, out of reach to the public. However, with the launch of this exhibition, art enthusiasts now have a rare opportunity to explore the fascinating story behind the making of this renowned masterpiece. The exhibition, a collaboration between the NCMM, Coronation Group Ltd, and Bonhams, the UK-based auction house, was officially unveiled last Tuesday.
The unveiling, which drew an impressive array of government officials from the culture and tourism sector, collectors, artists, and enthusiasts, was a rare highlight in the museum’s recent activities. Among the distinguished guests were the Director General of the National Gallery of Art, Ahmed Sodangi; the Director General of the National Theatre, Mrs Tola Akerele; the Director General of the Centre for Black and African Arts and Civilisation (CBAAC), Aisha Adamu-Augie; the Curator of the National Museum Lagos, Mrs Nkechi Adedeji; the Managing Director of The Guardian newspaper, Mr Toke Alex-Ibru; as well as Dr Kunle Adeyemi and Dr Bolaji Ogunwo.
The bronze sculpture of Queen Elizabeth II, crafted by the late Ben Enwonwu, holds significant historical and artistic value. It was commissioned during the Queen’s visit to Nigeria in 1956, for which she sat for the artist in London in 1957. Completed in London, the sculpture was later exhibited by Enwonwu at the Royal Society of British Artists exhibition in November 1957. The larger-than-life statue depicts the Queen seated gracefully, with her hands resting on her lap. The exhibition, titled “Building a Nation: Ben Enwonwu and the Impact of Sculpture,” offers a dynamic exploration of the illustrious career of the late master sculptor. It provides art lovers with an in-depth view of the creative process behind the masterpiece, highlighting Enwonwu’s immense contributions to the art of sculpture.
The exhibition also showcased some of Enwonwu’s world-renowned works, underscoring his profound influence on Nigerian and pan-African art on a global scale. The Minister of Arts, Culture, Tourism and Creative Economy, Hannatu Musawa, described the late Enwonwu as a national treasure whose works deserve greater visibility. She emphasised the importance of celebrating his legacy and ensuring that future generations continue to draw inspiration from his exceptional contributions to the arts. “Ben Enwonwu is one of the national treasures, not only of Nigeria, I think of Africa. This is something that I think every Nigerian and every African should be privy to. One of our core mandates as a ministry and as government is to work for the private sector. Of my eight-point agenda, I think for us, number five is really about public-private partnership, and we have incorporated this into every single project that we’re doing,” she said.
The Chairman of Coronation Group Ltd, Aigboje Aig-Imoukhuede, who demonstrated a strong commitment to the project, advocated for the private sector’s active involvement in Africa’s cultural preservation movement. He stated: “The private sector has a role to play in this preservation effort, whether from a funding perspective, launching their own galleries, celebrating local art, or helping to promote the work of both contemporary and classic artists. We take great pride in helping to make more of Enwonwu’s works accessible to the Nigerian public.”
He emphasised that art and culture are among Africa’s greatest contributions to the world. Reflecting on his childhood experiences, he shared how his appreciation for excellence was nurtured through exposure to art. He said: “I started coming to this museum when I was four years old, as my mother worked here as a curator. I believe the strongest thing that Africa has given to the world is its art and culture. I remember listening to debates in this very museum about who inspired whom—Picasso or Enwonwu. My understanding and belief in excellence were shaped by art, not by banking, finance, science, or technology, but by art.”
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Aig-Imoukhuede pledged that, recognising the immense significance of art, Coronation Group would henceforth commit to preserving the invaluable works housed in the museum. He remarked on the priceless value of Enwonwu’s Queen Elizabeth II sculpture, particularly in light of the current dollar exchange rate. He urged visitors to seize the opportunity to engage with the masterpiece: “Take a piece of history and take a photograph with this priceless work. Send it out, tweet it. Let people know that we are elevating Nigerian and African art to a whole new level.”
Highlighting the need to pass on the legacy of cultural appreciation, he added: “We need to give our children and our children’s children the experiences we lived. So, we shall preserve this museum, and we shall preserve and support the work of Gbile Holloway and other leaders in the arts and culture sector working for government. “We shall do it the way every other nation does it, because government is never going to be enough, where people like you and I will step forward as individuals and institutions and do what must be done to preserve our arts and culture. I don’t know how long it’s going to take, but I hope we will invite everybody back to see the transformation, your storage areas, and every other thing that must be done,” he assured.
Director-General of NCMM, Mr Olugbile Holloway, said the exhibition has a core focus on drawing parallels between ancient Nigerian art and modern artistic expression. He said this was through exploring Enwonwu’s role in shaping cultural and national identity, particularly in the years preceding Nigeria’s independence. “We are here today to pay homage to the past. Not just our fight for independence, but also the spirit of self-determination that was burning across our continent at the time. I am not sure it is possible to speak of a renewed hope agenda without alluding to renewed heritage first. The National Commission for Museums and Monuments remains committed to ensuring that our past is not left to decay, and I invite you all to join us on this epic journey,” he said.
Neil Coventry, a researcher and art historian, highlighted the historical significance of sculptures as vessels for preserving and conveying cultural narratives. He noted that the late Enwonwu’s work masterfully employed sculpture to explore complex themes, such as African identity and Nigeria’s cultural heritage. “This exhibition underscores the power of storytelling through Enwonwu’s sculptures, which vividly capture historical, spiritual, and social narratives, forging a profound connection between Nigeria’s past and its future,” Coventry remarked.
