The Metropolitan Museum of Art has reached an agreement to transfer three African artworks from a private collection to a new arrangement involving both the museum and Nigerian cultural authorities. The works, collected by philanthropist Ceil Pulitzer between 2015 and 2018, include a 12th to 15th-century terra-cotta horse’s head, a 16th-century terra-cotta human head, and an 18th-century brass figure representing a queen mother. These pieces will be on loan to the Met for 25 years through a nonprofit organization established by Nigeria’s National Commission for Museums and Monuments (NCMM).

The discussions, which began last year, reflected evolving museum approaches toward acquisition and repatriation of cultural items. Although the provenance of the three pieces was well documented and showed no indication of theft or illicit export, the museum deemed the evidence insufficient for permanent acquisition. Instead, collaborating with Ms. Pulitzer and the NCMM, the Met developed a plan allowing the works to remain accessible to audiences and scholars in New York while recognizing their origin.

The arrangement aims to balance the Met’s mission of public access with ethical considerations surrounding cultural heritage. Max Hollein, the museum’s director and chief executive, described the deal as a way to ensure the objects do not re-enter the private market but remain shared for public benefit. Olugbile Holloway, director-general of the NCMM, emphasized the importance of enabling Nigerian antiquities in private hands to be displayed widely, highlighting the cooperation as mutually beneficial.

This agreement follows a precedent set in 2022, when the Met arranged for the loan of 161 Cycladic antiquities owned by businessman Leonard N. Stern and formally recognized as property of the Greek state. Such partnerships reflect growing institutional sensitivity to historical contexts in which cultural objects were acquired, often during periods of colonialism, conflict, or political instability.

The three Nigerian works offer significant insight into the artistry and history of their regions. The brass figure, removed from Benin City in 1897 by a British officer, shows a queen mother adorned with a coral beaded collar and a teardrop-shaped crown. The terra-cotta head, dating to the 16th century, was crafted by a guild of artists serving the royal court of the Benin Kingdom and remained in Benin City until the 1950s. The horse’s head is attributed to a Yoruba artist and exemplifies the region’s ancient artistic traditions.

Alisa LaGamma, curator in charge of the Met’s Michael C. Rockefeller Wing, noted that the donation brings new dimensions to the museum’s exhibit of African art, including the first display of ancient life art from Nigeria’s Ife region. The Met has historically refrained from acquiring objects linked to unauthorized excavations in Nigeria, underscoring caution in collecting practices.

Ms. Pulitzer, an artist and former Christie’s executive, expressed enthusiasm for the new model of sharing works that have enriched her personal collection while supporting Nigerian institutions. The collaboration includes initiatives such as digital documentation of Nigerian collections and residency programs for Nigerian curators at the Met.

The evolving relationship between the Met and Nigerian authorities signals a broader shift in cultural stewardship, acknowledging both the importance of preserving heritage and the responsibility of museums to navigate complex provenance issues transparently and cooperatively.