Carved from a single block of hardwood, most likely Iroko (Milicia excelsa / Milicia regia), and densely ornamented with brass upholstery studs, this sculptural Ngombe stool is a powerful example of late 19th-century Central African prestige furniture. The form is compact and architectural, with a gently concave seat supported by a continuous curved base, creating a low, muscular silhouette characteristic of Ngombe seating. The surface is articulated with hand-hammered brass studs arranged in graduated densities, producing a subtle, almost topographical rhythm across the seat, sides and front. Areas of exposed wood form deliberate geometric reserves, providing visual contrast and emphasising the sculptural mass of the stool. The brass has developed a deep, warm patina, with traces of verdigris in recesses, consistent with age, handling and long-term oxidation. Among the Ngombe and neighbouring groups of the Lower Congo region, such stud-decorated stools were associated with authority, status and lineage. The use of imported brass, a valued and controlled material in the 19th century, further underlines the prestige of the object. Stools of this type were not utilitarian furniture in the Western sense but functioned as symbols of rank, used by chiefs, elders and individuals of social importance, and often displayed rather than routinely sat upon. The underside reveals early repair, including a hand-cut wooden brace and iron straps, indicative of a period repair carried out prior to the Second World War. These interventions are themselves part of the object’s history, reflecting continued use and cultural value rather than later restoration for the market. The presence of an old split in the wood, stabilised by these early repairs, is entirely consistent with age and material. Comparable Ngombe studded stools from the late 19th century are held in major museum collections, including the Royal Museum for Central Africa, Tervuren. Examples of this quality, scale and density of stud decoration are scarce.

The stool is structurally stable. There is a visible age-related split to the body of the wood, which has been stabilised by an early, pre-war repair using original wood bracing and iron strapwork to the underside. The studs show surface wear, oxidation and patination consistent with age, with occasional minor losses and verdigris deposits. The wood exhibits surface wear, abrasions and tonal variation throughout, all commensurate with use and age. No evidence of modern restoration.

This alabaster group depicts The Pancrastinae, also known as The Uffizi Wrestlers, a celebrated Hellenistic composition immortalizing two naked athletes locked in combat. The sculpture captures the climactic moment of the pankration—a brutal blend of wrestling and boxing that was among the most demanding events of the ancient Olympic Games. The sculptor demonstrates a masterful understanding of anatomy and movement: the taut musculature of each figure, the twisting torsos, and the intense interlocking of limbs are carved to convey both strength and strain. The smooth, luminous alabaster accentuates the play of light across the figures’ forms, lending the scene an almost ethereal vitality. Reproducing the celebrated marble group housed in the Uffizi Gallery, Florence, this work reflects the 19th-century neoclassical revival and the era’s fascination with antiquity. Alabaster—valued for its translucency—was a favoured medium among Italian sculptors seeking to reinterpret classical masterpieces for the grand tours of Europe’s elite. The Pancrastinae remains one of the most dynamic and admired examples of ancient athletic sculpture, symbolizing both the physical ideal and the intellectual engagement with competition and harmony. The present alabaster reduction exemplifies the enduring appeal of classical subjects in 19th-century European art.