I · THE OBJECT · BRITISH MUSEUM
Asante Goldwork
▶ Listen · narrated
The Asante made gold into currency, ceremony and statecraft. What survives in museum cases are the tools of that system, taken as war prizes in 1874.
At a glance
- Empire founded
- 1701, under Osei Tutu
- Capital
- Kumasi
- Economic base
- Gold trade, agriculture, craft production
- British annexation
- 1 January 1902, after five wars
Look closer
Goldweights as a lexicon of value
Asante goldweights are small brass castings, rarely more than a few centimetres across, used to measure gold dust on a balance scale. They depict seeds, tools, animals, human figures, geometric forms and objects from daily life. Many encode proverbs: a crocodile with a single stomach but two mouths references shared fate, a bird looking backward suggests learning from the past. The weights were not decorative. They were functional instruments of trade, standardised enough to work across markets but varied enough that each set carried its maker's or owner's choices. What looks like folk art was commercial infrastructure.
Gold as currency and sovereignty
The Asante Empire controlled access to goldfields and regulated the gold trade with European merchants on the coast, notably the Dutch. Gold dust functioned as currency within the empire, weighed out in transactions large and small. But gold also marked political authority. The Golden Stool, introduced by Osei Tutu and his adviser Okomfo Anokye as the sole unifying symbol of the kingdom, was never sat upon. It embodied the state itself. Court regalia, ornaments worn by officials, gold-hilted swords and the gold-rimmed skull cup made from British General Sir Charles MacCarthy after his defeat in 1824 all performed sovereignty in metal.
Lost-wax casting in miniature
Goldweights were cast using the lost-wax method. A model is formed in beeswax, encased in clay, then heated so the wax melts away and molten brass is poured into the void. The clay mould is broken to retrieve the casting, meaning each weight is unique even when it repeats a standard form. The technique allows extraordinary detail at small scale: individual fingers on a human figure, the texture of a woven basket, the segments of a seed pod. The weights are technical objects that also function as a distributed archive of form, recording what mattered enough to be cast into the system of measure.
The story
The Asante Empire emerged in the late seventeenth century and consolidated under Osei Tutu, who ruled from around 1695 to 1717. Osei Tutu and his adviser Okomfo Anokye established the Golden Stool as the spiritual and political centre of the state, and Osei Tutu reorganised the army into a disciplined force. In 1701 the Asante defeated the Denkyira kingdom, gaining direct access to the coast and to European trade networks. The empire expanded through the eighteenth century, eventually controlling much of what is now Ghana and parts of present-day Ivory Coast and Togo.
Gold was both the foundation and the expression of Asante power. The empire sat on goldfields and controlled the trade routes that carried gold dust south to European merchants and north into Saharan networks. Internally, gold dust served as currency, weighed out in everyday transactions using brass weights and a balance scale. The weights themselves became a specialised craft. Produced by lost-wax casting, they took forms drawn from the natural world, material culture and proverbial wisdom. A weight might depict a peanut, a sword, a leopard, a chief's stool, or an abstract geometric knot. Some were literal: a weight shaped like a gold nugget. Others were figurative: the crocodile with two mouths and one stomach, a reminder that competing factions share a common destiny.
The system required calibration. Weights were notionally standardised to units, but in practice each set varied slightly, and the opportunity for advantageous miscalibration was understood by all parties. A trader's set of weights was personal property, passed down and added to over time. The weights were small enough to carry, durable enough to last generations, and specific enough that their forms encoded both measure and meaning.
The Asante fought five wars with the British between 1824 and 1900. They won the first two outright. In 1824, Asante forces killed General Sir Charles MacCarthy, and his skull was reportedly kept as a gold-rimmed trophy cup. But in 1874, during the third war, British forces under General Garnet Wolseley captured and burned Kumasi. They looted the royal palace and took enormous quantities of gold objects, regalia and goldweights back to Britain. Much of what is now held in British museums, including the British Museum, the Victoria and Albert Museum, and the Pitt Rivers Museum, was taken during this campaign. The final Asante defeat came in 1900, and on 1 January 1902 the empire was formally annexed as part of the British Gold Coast colony.
What survives in museum collections are fragments of a working system. Goldweights, gold rings, ceremonial discs, and pieces of regalia were extracted from their context of use and reclassified as ethnographic specimens or decorative art. The weights no longer weigh anything. The gold no longer circulates. But the objects remain legible as instruments of a specific kind of economic and political order, one in which value was materialised, measure was miniaturised, and authority was performed in metal.
Why it mattered then
Gold made the Asante Empire possible. It paid for imported firearms, funded the standing army, and attracted European trade that the Asante state could tax and control. The goldweights were not incidental to this system. They were its daily mechanics, the tools that allowed gold dust to function as money across a territory that stretched from the coast to the interior. A merchant travelling from Kumasi to a northern market carried a balance scale and a set of weights, and those weights had to be trusted. The forms they took, often proverbial, may have helped establish that trust, embedding moral and social knowledge into the instruments of commerce. The gold objects made for the court, meanwhile, did different work. They signalled rank, marked offices, and displayed the state's control over the source of its own wealth. When Osei Tutu introduced the Golden Stool, he was not making a metaphor. He was creating a physical object that could be seen, protected, and never sat upon, an anchor for political unity that was more durable than any individual ruler.
Why it matters now
The Asante kingdom still exists as a constitutionally protected traditional state within Ghana, and the current king, Otumfuo Osei Tutu II, still holds authority. But the objects taken in 1874 remain in British museums, and their presence there is contested. The circumstances of their acquisition are not ambiguous: they were war loot. Calls for repatriation have intensified in recent years, and some objects have been returned under loan agreements or formal restitution, but the majority remain in collections where they are displayed as art or ethnographic material rather than as the working instruments of a state that still exists. The goldweights, in particular, raise questions about what it means to preserve something by removing it from the system it was built to serve. They are records of a functioning economy, and they are also evidence of how that economy was interrupted. Museums present them as examples of African craftsmanship and symbolic thought, which they are. But they were also, and perhaps primarily, tools. A weight shaped like a proverb still measured gold. Returning them would not restore the system, which no longer operates, but it would acknowledge that the objects belong to a history that Ghana, not Britain, has the primary claim to interpret.
The surprising detail
After the British forces killed General Sir Charles MacCarthy in 1824, Asante tradition holds that his skull was kept as a gold-rimmed drinking cup. The claim appears in British military accounts and Asante oral history, though no such object has been definitively identified in museum collections. Whether the story is literally true or a potent piece of psychological warfare, it demonstrates how gold was used to mark not just wealth but dominance. The gesture inverted the usual direction of colonial trophy-taking: it was the colonisers who became the object, rimmed in the metal they had come to extract.
How it got here
Most Asante goldwork in British museums was taken during the 1874 Anglo-Asante War, when British forces under General Garnet Wolseley burned Kumasi and looted the royal palace. The objects were classified as war prizes and distributed to museums and private collections. Ghanaian authorities and Asante representatives have called for the return of these objects, arguing that they were looted during an act of military aggression and remain significant to Asante cultural and political identity. Some institutions have entered into loan agreements or returned objects under specific terms, but the majority of the 1874 material remains in British collections. The legal status of war loot taken during colonial conflicts is contested, and museums have generally resisted blanket repatriation while acknowledging the circumstances of acquisition.
Remember this
Goldweights were not art. They were the working tools of an economy, cast into forms that carried both measure and meaning.
Test yourself
Why would a merchant prefer a set of goldweights that encoded proverbs rather than purely geometric or abstract weights?
The proverbial forms may have served as a kind of social credential. A weight shaped like a crocodile with two mouths and one stomach does not weigh gold any differently than an abstract brass lump of the same mass, but it signals that the merchant operates within a shared system of values and knowledge. In a trade network where trust mattered and miscalibrated weights were a known risk, carrying weights that displayed cultural literacy may have made transactions smoother. The proverbs also made the weights memorable and distinctive, which mattered in a system where each trader's set was personal property, assembled over time and passed down. A weight was not just a measure. It was a statement about who was doing the measuring.
Go deeper
Image: The British Library, No restrictions. Licence: No restrictions. Source.
