This extraordinary pair of figures originates from one of the enigmatic areas of African art and attempts to classify them within the Western construct of African art - which assumes that each ethnic entity has unique stylistic characteristics - are futile. In the regions of southern Tanzania, Malawi and northern Mozambique, communities have repeatedly migrated, partly due to the impact of slavery and trade on the various communities in the nineteenth century, and the art of this period often incorporates references to a number of regional styles.

The geometric-patterned scarification on the lower back of the woman bears some resemblance to the patterns associated with the Lomwe people. They lived in the region of northern Mozambique and southern Malawi and were closely involved in the export of slaves from the coast which provided them with wealth and power in the area. However, the regional boundaries for the Lomwe have shifted through the years, in addition to which many of the Lomwe have intermarried with the neighbouring Yao on their western frontier and the Makua on their north-eastern frontier. Thus, it would be appropriate to advocate a broad regional classification for this pair because many of their other stylistic characteristics relate to sculpture from southern Tanzania, Malawi and northern Mozambique. For example, the concave faces relate to late nineteenth-century sculptures from the Wazaramo who lived along the Tanzanian coastline. The deep inset eye sockets with white bead eyes, pronounced chin, conical breasts and arched pokerwork eyebrows, as well as the arms and hands positioned in front of the body, are to be seen in other squat and compact figures from the region (see Ladislav Hollý, Masks and figures from eastern and southern Africa, London, 1967). The skill of the carver in realising a dynamic human form is noteworthy. The expressions on these faces are eerie, and their posture, perched on the edge of the chairs, is vulnerable and awkward. The carver has conceived the male figure asymmetrically, perched on the side of his chair with one of his hands touching his beard while the other is held in front of his body.