First of all, reproduction means the replication of that art work. These can be sold to markets, given to museums or art galleries. As more reproductions are made, problems begin to compile. To verify the authenticity of the bronzes, the museums or art historians utilize the TL dating, or thermoluminescence. TL dating was developed through 1960’s to 1970’s and is used to confirm the stratigraphic dating of ceramics. Although the Benin kingdom produced bronze sculptures, there are clay remnants in the core. Other methods include spectrographic and metals analysis, done by Frank Willett, Otto Werner and Paul Craddock.

Reproductions came from South Africa, Cameroon, and Ghana, and they enlarged the market of Benin art. For instance, the bronzes from Cameroon are similar to Benin’s early sculptures because they had puffy faces and excessive filling that stretched the metal, creating a thinness like the Benin bronzes. While there are good reproductions, there are also reproductions that are unrelated to Benin’s historical context at all. As a result of reproduction, art historians struggle with the validity of Benin bronzes, and dealers and galleries even give certificates to clients to ensure authenticity. This is an example of Cameroon’s reproduction of a leopard, and compare it with a Benin leopard.

Now, its market. The market for Benin’s art work opened when Oba Eweka II lifted the restrictions of selling the artworks in 1914. Therefore, the traditional craftsman started to create sculptures for the public.

The market for the arts of Benin Kingdom is consistent with the social change. Not only can these sculptures be bought at stores, there is a room for it in the cyberspace. The Hamill gallery of African Art at Boston is an example of such case. As the tradition of Benin art continue, the economy is boosted through tourism. Nowadays, Benin bronzes are also marketed as decorations, political or religion sculptures. According to an article by Joseph Nevadomsky, ‘The British punitive expedition [of 1897]… returned with booty consisting of thousands of brass and ivory artifacts that now command premium auction prices.’ So, we see that the market of Benin art is wide open with various channels.

There are numerous galleries displaying the Benin bronzes, and one of the famous ones is the Sainsbury African Galleries at the British Museum. It is finally able to display the African collection, including Benin bronzes, after the Museum of Mankind displayed them for 30 years. This spacious museum gallery offers 850 square meters of exhibit rooms and is divided into 5 main section, such as contemporary or brass casting. The section for Benin arts is specially designed to reflect the court association of the plaques or the heads. The plaques of court officials are even arranged on thin poles to indicate that they used to adorn the pillars of the Oba’s palace. Another entire case was devoted to the bronze heads of dead Obas and Queen mothers to show their importance in Benin life and value.