A Fine and Rare Zula Caryatid Stool, Democratic Republic of the Congo

the female figure squatting with full pending breasts surmounted by a massive head, the eyes inset with cowrie shells, the arms touching the circular seat; fine aged varied brown patina with residue.

Pierre Dartevelle, Brussels
Fred Jahn, Munich

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)

Christopher D. Roy, "African Art from the Bareiss Collection," African Arts, Summer 1999, vol. XXXII, no. 2, p. 62, fig. 13
Christopher D. Roy, Kilengi: African Art from the Bareiss Family Collection, Seattle, 1997, pp. 166-167 and 360, fig. 95
--, Kilengi. Afrikanische Kunst aus der Sammlung Bareiss, Hanover, 1997, pp. 170-171 and 364, fig. 95

good condition overall; insect damage on inside of base causing surface losses to the back side and top of the base and left buttocks, age cracks on right arm and left shoulder, areas of abrasion on shins, forearms and hands; wear and tear, nicks and scratches consisting with traditional use; 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: 360, text to fig. 95) notes: "This is a Zula version of the great thrones of the Luba, Hemba, and the other peoples who are related politically to the Luba in southeastern Congo (Zaire). The Zula are sometimes referred to as the Luba-Manyema because of their close relationship to the Luba empire. As was true with all the peoples of southeastern Congo (Zaire) who became allied with the Luba, art objects that expressed fundamental ideas about Luba rule were sent from the capital to the allies to seal treaties of peace and cooperation. [...] Zula thrones can be distinguished from those of the Luba and the Hemba by the distinctive splayed position of the legs, so that the arms held upward with their elbows almost touching the knees form a mirrored W pattern."

See Beaulieux (2000: 149) for a closeley related example from the Christiaens collection.