Chief Aro of Owo, the Afobaje Omolowo
Provenance : Acquired by the family of the sitter, directly from the artist, circa 1967 Private Collection, Nigeria, acquired from the above
Exhibited :
Literature :
Notes : Chief Aro held the traditional role of Afobaje (Yoruba for kingmaker) in the royal court of Owo, an ancient city in Ondo State, meaning he held the power to enthrone and depose the king, or Olowo of Owo. This was during the reign of legendary Sir Olateru Olagbegi II KBE (1910-1998), who was appointed the Olowo in 1941 and knighted in the Queen's Birthday Honours in 1960 on the occasion of Nigerian Independence. Olagbegi ruled for 25 years, before he was suspended from the throne and exiled in 1966 as a result of a miliary coup, and finally deposed in 1968. The present lot, dated 1965, was originally commissioned by the Aro family for presentation to the Olowu but remained in the possession of the Aro family, presumably as a result of this political upheaval. Olagbegi was only reinstated as Olowo 25 years later in 1993. Born Samuel Akinola Oladetimi near Owo, Lasekan was a student of Aina Onabolu, one of the most highly regarded figures of Nigerian Modern art, Lasekan began his career under the influence of his teacher’s naturalist style and preference for portraiture. Although Lasekan would continue to create mesmerising portraits, he came to develop his own distinct style which was heavily influenced by Yoruba culture. Lasekan is best-known for painting scenes of Yoruba legends and royal portraits, such as the present lot, characterised by his keen attention to detail and elegant use of colour.
Condition_report : There are pinholes to the corners of the work, as well as a handful scattered along the edges. Example of minor loss to the board/surface in the upper left and right corners. There is an area of discolouration around both signatures, this could be inherent. Scattered light brown surface marks/accretions in the lower half of the work with possible other instances elsewhere. Small and minor surface mark to the right shoe. There is a line of discolouration running horizontally across the work; the line is faint. Inspection under UV light reveals no clear sign of restoration or repair. Overall, the work appears to be in good condition.
