ESHIRA, LUMBO, OR PUNU ARTIST | ANTHROPOMORPHIC SPOON

Paul Guillaume, Paris, by 1914

Alfred Stieglitz, New York (acquired from the above in 1914)

Georgia O'Keeffe, Abiquiu, New Mexico, 1946 (by descent)

By descent to the present owner

New York, 291, Statuary in Wood by African Savages: The Root of Modern Art, November-December 1914

New York, Metropolitan Museum of Art, African Art: New York and the Avant-Garde, November 2012-September 2013

“African Savages the First Futurists”, The World Magazine, 24 January 1915, illustrated p. 20

Camera Work, Number 48, October 1916, illustrated

Marius de Zayas, Francis M. Naumann (ed.), How, When, and Why Modern Art Came to New York, Cambridge, Massachusetts, 1996, illustrated p. 58, fig. 65 (Stieglitz photograph of Statuary in Wood by African Savages: The Root of Modern Art)

Lauren Kroiz, Creative Composites: Modernism, Race, and the Stieglitz Circle, Berkeley and Los Angeles, California, 2012, illustrated p. 81, fig. 37 (Stieglitz photograph of Statuary in

Wood by African Savages: The Root of Modern Art)

Yaëlle Biro, Fabriquer le regard. Marchands, réseaux et objets d’art africains à l’aube du XX^e siècle, Paris, 2018, illustrated p. 203, fig. 41 (Stieglitz photograph of Statuary in Wood by African Savages: The Root of Modern Art)

John Warne Monroe, Metropolitan Fetish: African Sculpture and the Imperial French Invention of Primitive Art, Ithaca, New York, 2019, illustrated p. 95, fig. 3.2 (Stieglitz photograph of Statuary in Wood by African Savages: The Root of Modern Art)