Regarding the present example, Perrois continues that this kota "from the former Russell B. Aitken Collection (which was in the famous Frank Crowninshield Collection, prior to 1930) [...] is an example of 'classical' work produced by the 'Obamba-Ndumu', with its beautiful oval face decorated with fine strips radiating out from the sharply-angled tetrahedral nose; the crescent shaped eyes are rendered in relief and overlap the broad central plate. At the top perches a large, transverse crested headdress, with two very broad, straight-bottomed side-buns supporting two vertically-hanging cylindrical pendants and a very conspicuous, wide diamond-shaped base covered with metal" (ibid., p. 60).
Outside of the perfectly balanced and meticulously decorated convex central medallion, the sculptor-blacksmith has employed wide, blank planes, patiently flattened but undecorated, in what could be called a minimal sculptural style; dramatically different from the wholly elaborate styles such as that seen in the previous lot. These broad forms are delineated by boundaries of narrow repoussé motifs, in a configuration which calls the viewer's attention to the rigorous architectural forms of the sculpture and the well-defined silhouette. The lozenge-base is of particularly solid structure, made of tapering quadrilaterals, with the top half covered with brass plaques, also of minimal form.
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