The tusks feature carved royal figures in traditional regalia, depicting scenes of power, ritual, and at times, conflict.

In the late 19th century, the British punitive expedition resulted in the looting of artefacts, including several Benin Altar Tusks.

[4][5] The Kingdom of Benin engaged in trade with European nations, most notably the Portuguese Empire, which established contact with the region in 1485.

[17] The tusks are ivory sculptures adorned with intricate carvings that depict aspects of the Benin Kingdom's history, mythology, and rituals.

[12][19] The carvings on the tusk chronicle the history of the Benin Kingdom, featuring depictions of monarchs, warriors, cultural ceremonies, and daily life.

[1][20] At the core of the tusk's iconography is the portrayal of the oba (king) and his retinue, symbolising the monarchy's authority and its connection to the spiritual realm.

Aside from the Igbesanmwan carvers and custodians entrusted with safeguarding the Oba's treasures, the Ihogbe priests, who oversee the royal ancestors, possess the specialised knowledge needed to interpret certain carved images on the tusks.

[9] Specific details of the iconography remain confidential, but the narratives conveyed through these images are widely recognised, contributing significantly to ethical discussions within Benin.

[9][26] The motifs carved into the altar tusks serve as mnemonic devices, carrying significance that can be elaborated upon to varying depths, depending on the observer's understanding.

[10] Carvers also have the creative latitude to craft new figures and symbols to honour the current reigning Oba, who commissions the work.

Foster's Auction in July 1931, as part of a collection formerly owned by a member of the Benin expedition, and acquired by Sir Henry Wellcome.

[28] Another Benin Altar Tusk, which was also looted in 1897, was owned by Katherine White Reswick (1929–1980), who resided in Gates Mills, Ohio, US, from at least 1961 to 1968.