Julius E Lips, The savage hits back, London, 1937 illustrates a carving that is in some respects stylistically similar (fig.93, in the Peabody Museum, Salem, Mass.) and ascribes it to Bechuanaland. If correct, this would suggest that the usual attribution of figurative carvings with pokerwork to the Tsonga peoples is simplistic and does not acknowledge the broader distribution of this stylistic trait.

Figures 14, 15 and 16 came from the collection of Thomas Scott, Cecil John Rhodes' bandmaster, who was stationed in South Africa from circa 1895 to 1903 after which he returned to Britain where he died in 1914. See also no.23.