This instrument has an old label that reads “Ashanti. Webster. July. 1899.” Nevertheless, an Asante attribution must be set aside in favor of a provenance in the Niger Delta and Cross River areas of southeast Nigeria, where a number of similar, pyro-engraved instruments of the same sort have been collected. There is sufficient similarity among this group to suggest a single workshop. None shows any evidence of use, and it is likely that they were made primarily for a European audience.
Source: DjeDje, J. C. (1999). “Turn Up the Volume! A Celebration of African Music”, Los Angeles: UCLA Fowler Museum of Cultural History. page 247