An important Bamana female figure, Ségou region, Mali

standing with spread legs in an inverted V-shaped position, the arms in an inverted U-shape, the abstract head of overall vertical orientation with iron eyes; on Inagaki base with four labels ('L71.24.43'; 'Rubenstein', '35.14 Rubin-sTein' and 'ROS9') on the bottom; dark brown, slightly glossy patina.

Frédérick Henri Lem, Paris
Helena Rubinstein, Paris and New York, by 1935
Parke-Bernet Galleries, The Helena Rubinstein Collection, New York, April 21, 1966, lot 57
Acquired at the above auction

Museum of Modern Art, New York, African Negro Art, March 18 - May 19, 1935
The Hudson River Museum, Yonkers, New York, African Art in Westchester from Private Collections, April 24 – June 6, 1971
C. W. Post Art Gallery, Greenvale, New York, African Sculpture: The Shape of Surprise, February 17 – March 30, 1980
National Museum of African Art - Smithsonian Institution, Washington, D.C.,  A Human Ideal in African Art: Bamana Sculpture, April 29, 1986 - June 15, 1986; additional venue: The Metropolitan Museum of Art, New York, August 20, 1986 - March 1, 1987

James Johnson Sweeney (ed.), African Negro Art, New York, 1935, p. 31, cat. 14 (unillustrated)
The Hudson River Museum (ed.), African Art in Westchester from Private Collections, Yonkers, 1971, cat. 23a (unillustrated)
Susan M. Vogel, African Sculpture: The Shape of Surprise, New York, 1980, p. 43, cat. 9 (unillustrated)
Kate Ezra, A Human Ideal in African Art: Bamana Sculpture, Washington, D.C., 1986, p. 11, no. 5
Virginia-Lee Webb, Perfect Documents: Walker Evans and African Art, New York, 2000, p. 58, pl. 5

Good condition overall. Minor loss to one right toe and one left toe. Two wooden pegs inserted on bottom of the feet for mounting.
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.

The present lot is featured on plate 17 of Walker Evans' portfolio of photographs accompanying the exhibition African Negro Art at the Museum of Modern Art, New York (March 18 - May 19, 1935). The portfolio was the subject of the exhibition Perfect Documents: Walker Evans and African Art, 1935 at The Metropolitan Museum of Art, New York, February 1 - September 3, 2000.