A Superb and Rare Luguru Throne, Tanzania

rising from three interconnected legs with openwork design and geometric decoration in relief, the round seat with a trapezoidal arching backrest with two conical breasts and geometric decoration in relief on the reverse, surmounted by an oval-shaped head with geometric scarification, wearing a coiffure with central crest and two horizontal bands on each side with inset glass beads; fine, aged varied brown patina with residue.

Peter Loebarth, Hameln
Fred Jahn, Munich

Berlin, Haus der Kulturen der Welt, Tanzania: Meisterwerke Afrikanischer Skulptur, April 29 - August 7, 1994
Iowa City, The University of Iowa Museum of Art, Kilengi: African Art from the Bareiss Family Collection, March 27 - May 23, 1999 (for additional venues see bibliography, Roy 1997)

Marc Leo Felix, Mwana Hiti: Life and Art of the Matrilineal Bantu of Tanzania, Munich, 1990, p. 153, fig. XII/17
Karl Ferdinand Schaedler, Götter, Geister, Ahnen: Afrikanische Skulpturen in deutschen Privatsammlungen, Munich, 1993, p. 232, fig. 193
Jens Jahn (ed.), Tanzania: Meisterwerke Afrikanischer Skulptur, Munich, 1994, pp. 334-335, figs. 195a and b
Jonathan Fogel and Ryann Willis (eds.), "Tanzania: Masterpieces of African Sculpture," Tribal Arts, June 1994, p. 13
Nancy Nooter, "East African High-Backed Stools: A Transcultural Tradition," Tribal Arts, Autumn 1995, p. 54, fig. 15
Christopher D. Roy, Kilengi: African Art from the Bareiss Family Collection, Seattle, 1997, pp. 96 and 335, fig. 42
--, Kilengi. Afrikanische Kunst aus der Sammlung Bareiss, Hanover, 1997, pp. 99 and 339, fig. 42

good condition overall for an object of this age and rarity; heavily eroded on bottom, the right leg broken and reattached with a metal nail (native repair), with erosion on top and bottom, losses to edge of seat, a large crack leading from the center so the left corner of backrest, losses to left top corner of seat, ears and horizontal bands of coiffure; glass beads missing; right breast chipped, nicks and scratches, wear and tear; fine, aged varied brown patina with residue.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Roy (1997: 335, text to fig. 42) notes: "This example, made by the Luguru, is similar in composition and style to stools in the National Museum of African Art from the collection of Robert and Nancy Nooter, and at the University of Iowa Museum of Art (Roy 1992: 253). Another is published in Meurant and Leurquin (1990: 16-17, fig. 5). Nancy Nooter has conducted extensive research on these high-backed stools, or chairs, publishing five examples attributed to the Luguru (N. Nooter in Meurant 1990). This example shares with the stools in Iowa City and Washington the pronounced sagittal ridge from the front of the head to the back, the rather flattened face and receding chin, the distinctive horizontal band just in front of each ear, broad rectangular patterns of scars on the cheeks, and large blocks of incised patterns on the reverse of the high back."