Luba Caryatid Throne - Stool

Late 19th Century

This masterwork of  Luba court art was collected by Walter Dehne. Walter Dehne traveled to Africa in 1898 as a representative of the German Trading Company Woermann - Hamburg.

Eduard Woermann (?), Adolph Woermann and Carl Woermann with ships of the Woermann Line and the German East Africa Line. In-between are the buildings of the old branch offices of the Woermann Company in Cameroon

The Hulk of the company (left) an the  buildings of the old branch offices of the Woermann company in Cameroon. (right)

The Adolph Woermann - 1922

(Scuttled by it's crew near Ascension Island in 1939 in order to avoid capture by the Royal Navy.)

Founded by Carl Woermann (1813-1880), the German company C. Woermann was a merchant and shipping company for overseas trade. From 1890 Woermann operated passenger and cargo services between Germany and East Africa, West African and South African ports, as well as between South Africa and India. During it's heyday, between the second half of the 19th and into the 20th centuries, the firm  grew into a family empire.

Late 19th and early 20th century recordings of related stools.

       Lunda King Kazembe - Crawford 1924           Chief Russuna - Cameron 1887                Chief Kajingu - Burton 1927-35

Carl Woermann was a German trader and his son, Adolph Woermann (1847-1910), enlarged the company, then separated the trade from the the shipping, the latter the Woermann-Linie. He virtually controlled the shipping line Deutsche Ost-Afrika-Linie (DOAL), which served German East Africa. Adolph became one of the most important merchants in African trade and the owner of the world's largest privately owned shipping company. He was engaged in the formation of the German African colonies, in particular Cameroon and German South West Africa. His political ambitions led to his election to the German Reichstag.

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 Collected by Walter Dehne from 1898 - of the Woermann Trading Company

 

The stool is small, standing at slightly over 35 cms, or slightly under 14 inches, which confirms it's great age. The wood is lightweight and the patina has a consistent dull black tone. and there are traces of old insect damage with a splattering tiny paint droplets.

 

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Facial features are dominated by overwhelmingly large eyes.

 

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Stools like this were only brought out on special occasions, such as births, initiation, marriage or death. They were reserved for the political and spiritual elite, such as kings, chiefs, priests, medicine men, healers or dignitaries.

 

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Luba thrones mainly had authorative or ritual function, but might also serve as gifts to dignitaries. Ironically, they were rarely intended for viewing, but kept swathed in white cloth and guarded by an appointed official.

 

        

 

                                                          Collection - Mark Felix                                                               Crawford - 1925

 

The figure of the Luba Kabila bowl (above left) supports a related kaposhi hairstyle to that depicted on our throne. According to Mary Nooter and Allen F. Roberts (Memory – Luba Art and the Making of History);

 

“One of the two figures wears the kaposhi hairstyle of former days-the cross-shaped coiffure found on most Luba and eastern Luba sculptures. It was the coiffure of the Luba chiefs and some of their wives.”
 

Pg 73 Scarifications, beaded apparel filed teeth, cowrie eyes, and metal tacks in the head and coiffure uphold the highest criteria for Luba aesthetics, which alone can guarantee the favor of the spirit world. Conical nails, like hammer/anvils, are multilayered symbols of political power, and serve to protect vulnerable points of juncture and opening.”
 

 

The wooden carved conical nails or tacks of the kaposhi hairstyle confirm the female caryatid figure is the representation of a royal wife.

 

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Chokwe Throne Struts

Chair Struts - Headboards - Angola

This trio of objects are sold as a unit. They were carved as portions of chairs, thrones and as a plaque or bed headboard. Information on each portion of the powerful ensemble is detailed below.

Upper Portion

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The upper portion of our trio dates to 1910 and was made in Dondo Angola. A Portuguese by the name of Quirion da Fonseca organized the Diamang workshop at the museum. These plaques are said to have been carved there and used as headboards over small beds. The idea of scorched patterns or pokerwork may have been introduced by the Portuguese, who would have taken note of the technique of preserving and decorating wood in Portuguese South East Africa.

 

 

Center Strut

 

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This strut is from the upper portion of a chair or throne made in Angola by Luchazi people. From 1920 the Luchazi moved east from the river of the same name, attracted by a missionary hospital in Northern Rhodesia, or present day Zambia, where it was found. The two faces are representations of masks, also found on their combs, drums, thumb pianos and staffs.

 

 

Forward Strut

 

 

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The forward strut of the trio sold at Sotheby's NY in the 1970's. It remains with a tag more commonly used circa 1900. Its great age is confirmed by carved representations of Chibinda Ilunga on either side of a center head, which sports a horizontal figure 8 mouth and a stunning coiffure, typical of 19th century origin.

 

 

The Trio

 

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Three objects are mounted separately so they can be displayed apart or as one.

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