FEATURE 116 16. On this topic, see the publication accompanying the exhibition African Art, New York, and the Avant-Garde (November 27, 2012–September 2, 2013): Tribal Arts Special Issue #3. 17. Alex Pezzati, “Charles Sheeler and the University Museum.” In Expedition 50, No. 1 (spring 2008), pp. 6–7. 18. C. Brock, Charles Sheeler: Across Media. Washington, D.C.: National Gallery of Art, 2006, p. 164. 19. Letter from Sheeler to Quinn, February 22, 1918: “I have just selected and arranged a special exhibition of Negro Art at the University Museum 33rd and Spruce St. I believe you might find it of interest if you could run over. There will be a private view on Tuesday 26th from 4 to 6 it would be fine to see you there. Or course it will be on for at least a couple of weeks if the opening date is not convenient.” John Quinn Memorial Collection 1900–1924. New York Public Library, Manuscripts and Archives Division, New York. 20. The Museum Journal, Vol. IX, No. 1, “Notices,” March 1918, p. 8: “A special exhibition of the Art of the African Negro was arranged at the end of February. This consisted of wooden statues from the Congo and from the West Coast, as well as a series of bronzes from Benin and a group of textiles from the Bushongo.” 21. The Philadelphia Record, Sunday, March 3, 1918. Among the other articles are “Some Examples of African Art at the Museum” in the Public Ledger, March 3, 1918; “Exhibits of Congo Art at Penn” in the Evening Bulletin, Philadelphia, PA, February 26, 1918; “Congo Art” in the Bulletin, Philadelphia, PA, February 28, 1918. 22. Galeries Levesque, Paris. Collections de M. Charles Vignier consistant en sculptures, peintures et objets d'art anciens de l'Asie, ainsi qu'en quelques pièces d'art égyptien, d'art nègre et d'art aztèque, exposées du 16 mai au 15 juin 1913, dans les galeries Levesque & Co, 109, Faubourg Saint-Honoré. Paris: Levesque, 1913. 23. See Guillaume-Gordon Correspondence. UPMA Office of the Director, 1919–1920. 24. See Oldman-Gordon Correspondence. UPMA Office of the Director, Alphabetical Correspondence, June 5, 1920. 25. UPMA Oceania Curatorial – General Correspondence, Research and Collections to Collectors, Box 3. 26. Wardwell, op. cit., p. 20. 27. UMPA Office of the Director – Correspondence de Zayas-Gordon, letters 1919–1921. 28. Wardwell, op. cit., p. 20. 29. For more information on the Vignier-de Zayas collaboration, see Yaëlle Biro, Transformation de l'objet ethnographique africain en objet d'art: circulation, commerce et diffusion des oeuvres africaines en Europe Occidentale et aux États-Unis, des années 1900 aux années 1920. PhD dissertation, Paris 1 – Sorbonne, Paris, 2010, pp. 266–277. 30. At the University of Pennsylvania Museum, I would like to thank Dwaune Latimer, keeper of the collection, and Alex Pezzati, museum archivist, for their help over several years of research. FIG. 30: Caryatid stool. Luba people, Democratic Republic of the Congo. Wood, glass beads. H: 42 cm. Ex: Joseph Van den Boogaerde, Enghienles Bains, France, 1913–16 to 1919 (field collected by Van den Boogaerde in the Belgian Congo, 1913–16); Charles Vignier, Paris, 1919/21. Exhibited in the De Zayas Gallery in New York in 1919. Purchased from Charles Vignier, Paris, 1921 (AF 5121). Image courtesy of the Penn Museum, image #150529. This iconic Luba sculpture is part of a small corpus of exceptional works that have been identified with the hand of an artist—most likely active in the late 1800s—who has been nicknamed in various ways, including the Warua Master, the Frobenius Master, and the Kunda Master. Seats are the most important symbols of Luba kingship. Figuratively sculpted wooden stools and thrones are the exclusive property of royals and spirit mediums. Secretly stored in another village than that of its owner, where they were hidden in white cloth and placed under the surveillance of an appointed keeper, such stools were viewed on very rare occasions only. As receptacles of a king’s spirit rather than for human onlookers, they were primarily intended for the spirit world. For more information, see especially Mary Nooter Roberts and Allen F. Roberts, Luba. Milan: 5 Continents Editions, 2007. C.P.
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