Art For Sale Archive - Page 27 of 48 - Oceanic Arts Australia

Two Fine Old Solomon Islands Dance Birds Malaita Island Solomon Islands

Two Fine Old Solomon Islands Dance Birds Malaita Island Solomon Islands

These two fine old and used Dance Wands are from the Kwara’ae people of North Malaita Island in the Solomon Islands.

Carved in the form of a stylized bird which is a clan totem. When groups of ceremonial dancers use these Dance Wand Birds they are accompanied by music made from bamboo Pan Pipes. The dances re-enact the mythology of the voyages made by the original ancestor to arrive at North Malaita where the Kwara’ae people live today.

Birds motifs are often used in Solomon Islands art, frigate birds are very important to the lives of Solomon Islanders. When watching the sea they can see when frigate birds are hunting small baitfish by circling and diving in the water. Where there are small baitfish large Tuna follow. Tuna is one of the most important fish for food in the Solomon Islands.

Crispin Howarth at The National Gallery of Australia in his superb publication & exhibition at the NGA VARILAKU: Pacific Islands Art from the Solomon Islands 2011 states

” Large sculptures of bonito fish (Katsuwonus pelamis) hung from the rafters inside ceremonial canoe-houses along with carvings of sharks and people, and trophies of fish skeletons leftover from feasts.
Bonito are scaleless, smooth-skinned fish copiously filled with red blood similar to that of people. So close are the connections between bonito and people that one part of the maraufu or malaohu initiation ceremonies included the flowing of blood from the bonito into the mouth of initiates.

The sacred nature of bonito accorded to bonito continues into the present day in some areas:

‘To the Melanesians of the South-east Solomon’s the catching of the bonito is one of the things for which he exists. To him it is the king of fish … these bonito fish are no ordinary fish, they are virgin-born, and are under the care of special ghosts and sharks’.

Bonito are very difficult to catch and could only be caught when their protective deities wished them to be caught; their seasonal arrival signified the start of initiation events and the sharing of traditional knowledge. Sculptures of bonito and frigate birds were taken out of the canoe house and attached to decorated platforms erected on the shore, facing out to sea, for ceremonial performances.
Bonito band into a school to prey on shoals of small bait fish, working together to aggressively attack the shoal and drive it towards the surface, where fish hawks, terns and frigate birds and sharks enter the fray. This natural phenomenon attracts fishermen to the churning waters and the possibility of capturing bonito. These bonito-instigated events may last for hours or dissipate quickly, and are considered to be episodes of almost supernatural occurrence ”

Provenance The Todd Barlin Collection of Solomon Islands Art & Oceanic & Pacific Islands Art & Artifacts.

I first went to Papua New Guinea in 1985 for an adventure & what I found was that I really enjoyed being with the people of New Guinea, over the next 38 years I spent extensive time spent collecting and documenting traditional art & ceremonies in remote areas of Papua New Guinea & West Papua, The Solomon Islands & Vanuatu & the other Pacific Islands countries. During these travels, I made major collections of New Guinea & Oceanic Art for major Museums and Public Art Galleries

I was honored by being in the prestigious Louvre Museum Magazine for the collections I made for The Museum of African & Oceanic Art Paris in1996 (now the Musee Quai Branly) for the exhibition “Asmat et Mimika d’ Irian Jaya April 1996 At THE MUSEE NATIONAL des ARTS D’AFRIQUE et d’ OCEANIE, Paris

See all of the links & photos in my new EXHIBITIONS GALLERY and there is the link to the article in the prestigious Louvre Magazine 1996

I have artwork for Museums & Art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I would like to invite you to visit my gallery and see the artworks in person and also look at my website www.oceanicartsaustralia.com where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea & Oceanic Art. Sydney is just a couple hours’ flight to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbors.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us.

A Rare Old New Guinea Slave Hand-Blocks Geelvink Bay Area West Papua Indonesia 19th C

A Rare Old New Guinea Slave Hand-Blocks Geelvink Bay Area West Papua Indonesia from the 19th Century

This is a very rare type of 19th Century cultural object from the Geelvink Bay area on the Northwest Coast of West Papua Irian Jaya Indonesia. A Slaves Hand-Blocks from the 19th Century, made in the form of a Crocodile. There is an important early paper written about these objects by J.M. Hondius 1932 English Translation” Why did the Noemfor Island People make their Slave Blocks in the form of Crocodiles “. In the Publication Cultureel Indie 1932. See in my photos about some examples of these Slave Blocks in the Dutch Museums. Later I will put a link to this interesting article about these rare objects that were used during the 19th Century.

Geelvink Bay & the Islands close by are famous for their Korwar Ancestor Figures Sculptures, these powerful small sculptures are only part of the creative artworks made by these people, Canoe Ornaments, Headrests & other utilitarian objects were often decorated with Korwar Figures & stylised Crocodile figures. ( see my superb Geelvink Bay Adze with Crocodile Head).

I only had part of the 1932 article about the Slaves Hand Blocks translated roughly from Dutch to English which I will add later to this listing.

The Crocodile is an important totemic spirit animal throughout much of the entire Island of New Guinea. The crocodile is part of the ancient creation mythology for many New Guinea tribes. Crocodiles play a central role in the art and culture of the Sepik River people. According to one of the Iatmul people’s Middle Sepik creation mythology, an ancestral crocodile was responsible for forming the land. In the beginning, the earth was covered by a primordial ocean, into whose depths the crocodile dived. Reaching the bottom, it brought up on its back a load of mud, which became an island when it surfaced. From that island, the land grew and hardened, but it continues to rest on the back of the ancestral crocodile, which occasionally moves, causing earthquakes. Even today initiated Sepik Men have body scarification on their back, and chest shoulders to resemble crocodiles.

Provenance: The John & Marcia Friede Collection of New Guinea Art also known as The Jolika Collection most of which is now in The De Young Fine Art Museum in San Francisco California

The Todd Barlin Collection of Oceanic & New Guinea Arts & Arts of West Papua Indonesia

See all of the links & photos in my new EXHIBITIONS GALLERY and there is the link to the article in the prestigious Louvre Magazine 1996

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us.

A Superb Old New Guinea Kowar Ancestor Figure from Geelvink Bay West Papua Irian Jaya Indonesia

A Superb Old New Guinea Kowar Ancestor Figure from Geelvink Bay West Papua Irian Jaya Indonesia dating from the late 19th Century

This fine old Korwar Ancestor Figure is from the Geelvink Bay area on the NW Coast of West Papua Irian Jaya Indonesia.

Carved by a very skilled artist from a single piece of wood. The figure’s hair is made of cassowary bird feathers neatly put into small holes over the entire head.

What’s special about this Korwar is that it was clearly made to honour an important or high-ranking female ancestor, possibly the wife of a chief. She may also represent the wife and child of the “supreme divinity” who is the creative power in the universe. She is distinctly female with breasts but most significantly has an infant clinging to its back which is unique. The impressive facial tattooing was carved and then highlighted with a heated metal object or glowing wooden poker. The angles and fluidness of the sculpture’s hands and legs are carefully duplicated in the infant.

The peoples of the coasts and islands of Cenderawasih Bay in northwest New Guinea formerly created Korwar, figures that portrayed recently deceased ancestors. Korwar images served as supernatural intermediaries, allowing the living to communicate with the dead, who remained actively involved in family and community affairs. When a family member died, his or her relatives summoned a carver, typically a religious specialist, who created a korwar and enticed the spirit of the deceased to enter it.

Although the sex of the figures is often difficult to determine, all were either male or female, depending on the gender of the deceased. Kept by the family, korwar was consulted during crises and prior to important undertakings, such as trading voyages, warfare, or fishing. When a Korwar‘s advice proved sound, it was shown great deference. However, if the advice a korwar provided proved wrong, the living at times vented their anger on the figure, hurling it against the walls or house posts or even destroying it.

Many Surrealists artists gained inspiration from Korwar Figures and Oceanic Art in general. Andre Breton was one of the leaders of the surrealist movement in art and literature that flourished in the early twentieth century it was aimed at expressing imaginative dreams and visions free from conscious rational control. In his office, there are photos of serval Korwar Figures on his magnificent Art Wall one of which is now in the National Gallery of Australia in Canberra.

Provenance: The Todd Barlin Collection of New Guinea and Oceanic Art.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us.

A Fine Old New Guinea Dance Mask Middle Sepik River East Sepik Province Papua New Guinea

A Fine Old Mwai Mask Iatmul People Middle Sepik River East Sepik Province Papua New Guinea

This beautiful old Dance Mask called Mai or Mwai is from the Iatmul people of the Middle Sepik region, the masks are characterized by oblong faces with elongated noses that often merge into arch-like forms that join the nose to the chin or extend below it just like this example.

Finely decorated with Nassa and Cowrie Shells & Boars Tusks, the fine shell work is typical of this type of mask however the bulbous protrusions above the eyes that are made by attaching dwarf coconuts are the only example I have ever seen in 40 years

Mai masks are carved and danced in pairs, portraying elder and younger supernatural siblings, either brothers or sisters.

Worn by young men and boys, the masks are attached to conical basketry costumes that cover the dancer’s head and upper body. Mai mask performances begin with the construction of a fenced compound. Within it, the men build a raised platform, with a backdrop depicting the mountains where, according to oral tradition, the masks originated, and a ramp that extends over the wall to the ground outside. As the performance begins, the mai maskers burst from behind the backdrop and stride down the ramp. Reaching the ground outside, they are joined by the women, who accompany them to the dancing ground, where a lengthy performance ensues before the dancers finally retire into the men’s ceremonial house.

Provenance: The Todd Barlin Collection of New Guinea Oceanic Art

See my new EXHIBITIONS GALLERY showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is the link to the article about my artworks published in the prestigious Louvre Magazine in 1996

I have artwork for Museums and art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I would like to invite you to visit my gallery and see the artworks in person and also look at my website www.oceanicartsaustralia.com where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and Oceanic Art. Sydney is very close to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbors.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us

A Fine Old New Guinea Bioma Figure Papuan Gulf Area Papua New Guinea

A Fine Old New Guinea Bioma Figure Papuan Gulf Area Papua New Guinea

This beautifully carved Bioma Figure is from Era River area in the Papuan Gulf in Papua New Guinea.

In the past, the primary focus of religious and artistic life in this region was based on powerful spirits called Imunu. Each clan had specific imunu Spirits that were associated with a specific location in the landscape, rivers, or sea, and was linked to the specific clan.

Papuan Gulf wood sculpture was primarily two-dimensional, consisting of board-like carvings, known as Gope or spirit boards and figures with designs in low relief, like this fine example.

Figures such as this one represented and served as a dwelling place for an individual imunu spirit.

Villages once had large communal men’s houses divided into cubicles, each allotted to a particular clan or sub-clan. Each cubicle contained a clan shrine, which housed the spirit boards, figures, human and animal skulls, and other sacred objects associated with the clan’s various imunu Spirits.

Susan Klomam from Christie’s Auction writes ” In the landmark exhibition curated by William Rubin at New York’s Museum of Modern Art in 1984 – ‘Primitivism’ in 20th Century Art. This exhibition inspired a generation of art lovers and collectors who might otherwise never have thought to consider African and Oceanic Art, which is amongst the greatest art ever created around the world and throughout the ages. When analysing Picasso’s work of the so-called Africanist period, there is an oversimplified explanation that he was drawn to the abstraction of African art, and that his interest was almost purely formalistic. However, we know that there was a supernatural component that drove him, and it is in that spirit that those artists of the last century until today who turned to African and Oceanic art reads like a constellation of modern of art history – e.g. Gauguin, Picasso, Matisse, Vlaminck, Giacometti, Modigliani, Kirchner, Brancusi, Leger, Klee, Ernst, Pollock, Moore, Epstein, Arman, Baselitz, Basquiat.

Provenance: The Todd Barlin Collection of Papua New Guinea Art and Oceanic Arts.

I was honoured by being in the prestigious Louvre Museum Magazine for the collections I made for The Museum of African & Oceanic Art Paris in1996 (now the Musee Quai Branly) for the exhibition “Asmat et Mimika d’ Irian Jaya April 1996 At THE MUSEE NATIONAL des ARTS D’AFRIQUE et d’ OCEANIE, Paris

See all of the links & photos in my new EXHIBITIONS GALLERY and there is the link to the article in the prestigious Louvre Magazine 1996

My Gallery of nearly 40 years is the last physical gallery in Sydney that specialises in New Guinea & Oceanic Art. Sydney is just a couple hours’ flight to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbours.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us.

A Fine Old New Guinea War Shield Yuat River Lower Sepik River East Sepik Province Papuan New Guinea

A Fine Old New Guinea War Shield Yuat River Lower Sepik River East Sepik Province Papuan New Guinea

This fine old War Shield from the Mundugumor people in the Yuat River area of Lower Sepik River in the East Sepik Province Papuan New Guinea. Collected in 1966 by the geologist Peter Austin who luckily had a helicopter to get to a remote area to do a survey and collect artwork.

This is a very beautiful old shield, the carving designs on the front of the shield consist of six well-rendered faces that represent a powerful spirit called Raram. Old shields were important clan heirlooms and each shield had the personal name of an ancestor. The superb carving is further brought to life by the infill ochre painting in red, yellow , white & black ochre’s. The edge of the shield is pierced on both sides from the top to the bottom that has fibre tassels attached as decoration. The back of the shield is highly concave and the handle is upraised and then secured by cane on the top of the handle & a wood bar at the bottom of the handle.

The shield would date from the 1930s period based on the date of collection in 1966. The shield is in very good original condition and would be a prized addition to anyone who collects New Guinea Shields or the Art Collector who can see what the early 20th Century Western Artists saw when collecting Oceanic and New Guinea Art.

In the photos above are from my 2014 exhibition and publication: Oceanic Arts Pacifica: Artworks from the Todd Barlin Collection at the Casula Powerhouse Arts Centre in Sydney Australia.

Provenance: Collected in 1966 by the geologist Peter Austin. Much of Peter Austin collection was sold to the Royal Ontario Museum in Toronto and published in the book “New Guinea : Big Man Island” by ES Rogers, Royal Ontario Museum, Toronto Canada 1970. The collection remains in the Toronto Museum today. His best objects were kept for 50 years until the collection was sold to me.

The Todd Barlin Collection of Papua New Guinea Oceanic Art

See all of the links & photos in my new EXHIBITIONS GALLERY and there is the link to the article in the prestigious Louvre Magazine 1996

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us.

A Superb Old New Guinea Ancestor Figure Upper Sepik River Papua New Guinea

A Superb Old New Guinea Ancestor Figure Upper Sepik River Papua New Guinea

This beautifully carved old female Ancestor Figure is from the Upper Sepik River area in the East Sepik Province of Papua New Guinea.

The figure was originally once part of a larger carved house post. The house post was part of a Men’s Cult House or Haus Tambaran.

Made from a single piece of hardwood, she is standing with her hands on her hips. Her torso and shoulders have deeply incised clan designs that represent body scarification. Scarification is similar to tattooing except the designs are upraised on the skin by rubbing ash into the cut designs which are often part of initiations. Scarification was widely practiced in the Sepik River area for both men & women and famously so in the Middle Sepik River area where initiated men had their back, chest, and posterior scarred to look like crocodile markings, the crocodile is an important totemic animal.

Ancestor figures were an important part of a communities spiritual well-being, they offered protection from malevolent forces and help to ensure fertility for gardens growing large yams and taro.

Provenance: The Todd Barlin Collection of Papua New Guinea Art & Oceanic Art.

See all of the links & photos in my new EXHIBITIONS GALLERY and there is the link to the article in the prestigious Louvre Magazine 1996

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us.

A Fine Old New Guinea Massim Canoe Ornament Milne Bay Province Papua New Guinea

A Fine Old New Guinea Massim Canoe Ornament Milne Bay Province Papua New Guinea

This is a superb example of a Massim Canoe Flag Ornament called munkuris is from the Milne Bay Province of Papua New Guinea, old & beautifully carved this Canoe Flag Ornament was from the front of a large ocean-going canoe that was used in the complex Kula trading circle.

The elegant shape of this Canoe Ornament with the main design elements are stylised birds and the designs are highlighted remnants of old red and black paint. The Canoe Ornament would date from the 1950s

Kula is a complex trading cycle that can make lifetime trading partners and social connections over the many that make up the Milne Bay Province. Often refereed to as the” Massim” a term originating from Misima Island. Massim societies are usually characterized by matrilineal descent and elaborate mortuary rites that are part of the Kula trading system. Canoes were they main way of travelling by people in Milne Bay Province, they were able to travel long distances using a single sail made from fibre mats. This area on New Guinea made some of the most beautiful artworks from all of New Guinea, the Massim, are well known for their beautiful lime spatulas, canoe ornaments and yam house decorations and their artworks are featured in in many major museum collections, and displays around the world.

Provenance: From the collection of the late David Baker (1943-2009 ) who was the president of The Oceanic Arts Society of Australia and was a great collector, expert & supporter of Oceanic Art & Cultures.

The Todd Barlin Collection of New Guinea Oceanic Art

See all of the links & photos in my new EXHIBITIONS GALLERY and there is the link to the article in the prestigious Louvre Magazine 1996

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us.

A Fine Old Dayak Jar Stopper Dayak People Borneo Island Indonesia

A Fine Old Dayak Jar Stopper Dayak People Borneo Island Indonesia

This beautifully carved old wood Heirloom Jar Stopper is from the Dayak People on the island of Borneo or Kalimantan Indonesia.

In many of the islands that make up the Indonesian archipelago, people kept ancient heirloom ceramic jars that were important cultural objects. This is just the stopper for an Heirloom Jar but it is a well-carved artwork in the form of a mythological feline beast. Crouching in the centre of the lid the powerful feline figure is honoured by wearing glass trade beads.

To understand the importance of these Dayak Objects here is concise information:

In the article by Dr. Martie Geiger-Ho from the University of Brunei Darussalam ” VESSELS OF LIFE AND DEATH: HEIRLOOM JARS OF BORNEO ” 2014
” Endowed with deep cultural meaning and important socio-economic implications, martaban jars, also called peska, or heirloom jars, came to Borneo from Burma, Thailand, and China. As early as the 3rd and 4th century CE (common era) the island of Borneo was an important destination of ceramics, however, it wasn’t until after the Chinese Yuan dynasty that the volume of trade to South East Asia was accelerated.1
While it is true that many Asian countries imported heirloom jars to satisfy the commercial, utilitarian and aesthetic needs of their people, it seems that various indigenous cultures on the island of Borneo held them in the highest esteem as treasured status symbols and even magical artefacts. How these jars served their owners, from holding foods and oils, to providing a final resting place for the bodies and bones of family members will be discussed in this paper. Additionally, the mythology that stemmed from the prestigious porcelain jars themselves, such as their ability to affect the well-being of hunted heads (skulls) hanging in indigenous tribal longhouses, will be presented. A short over-view of how early stoneware Martaban jars, and later Chinese porcelain vessels were traded along the oceanic trade routes of Southeast Asia will set the background for discourse about the many ways in which the indigenous people of Borneo incorporated prized heirloom jars into their societies.

Over 35 years I made a small fine collection of Dayak Charm Figures and Medicine Stoppers. If interested please ask me about them.

Provenance: The Todd Barlin Collection of New Guinea Oceanic & Dayak Art

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us.

A Fine Old Japanese Natural Burlwood Hibachi or Hand Warmer

A Fine Old Japanese Natural Burlwood Hibachi or Hand Warmer

This beautiful old Japanese Hibatchi or Hand Warmer is made from a natural burl form with an inward curved lip like a wave, usually inside there was a copper lining now missing, the whole is mounted on a thick flat cedar base. Hibachi were traditionally used during Tea Ceremonies and as a source of heat in the winter months. This Hibatchi is dating from the late 19th Century.

The Japanese word for the tea ceremony, chanoyu, literally means “hot water for tea,” the practice involves much more than its name implies. Chanoyu is a ritualized, secular practice in which tea is consumed in a specialized space with codified procedures. The act of preparing and drinking matcha, the powdered green tea used in the ceremony, is a choreographed art requiring many years of study to master. The intimate setting of the tea room, which is usually only large enough to accommodate four or five people, is modeled on a hermit’s hut. In this space, often surrounded by a garden, the participants temporarily withdraw from the mundane world.

In the tea room, the emphasis is on the interaction between the host, guests, and tea utensils. The host will choose an assemblage of objects specific to that gathering and use those utensils to perform the tea preparations in front of the guests. Each tea gathering is a unique experience, so a particular assemblage of objects and people is never repeated. The guests are expected to abide by tea room etiquette with regard to the gestures used to drink the tea and the appreciation of the utensils. When presented with a bowl of tea, a guest will notice and reflect upon the warmth of the bowl and the colour of the bright green matcha against the clay before he begins to drink.

The ceramics used in this context—tea bowls, water jars, flower vases, tea caddies and hibatchi are functional tools valued for their practicality as well as artworks admired for their aesthetic qualities. A key element in this practice is the host’s connoisseur-ship skills; the host acquires a collection of objects that conform to a shared aesthetic standard and selects which objects to use in a particular gathering.

The natural wood form is Wabi-Sabi . In Zen philosophy there are seven aesthetic principles for achieving Wabi-Sabi as listed below;

Fukinsei (不均斉): asymmetry, irregularity;

Kanso (簡素): simplicity;

Koko (考古): basic, weathered;

Shizen (自然): without pretence, natural;

Yugen (幽玄): subtly profound grace, not obvious;

Datsuzoku (脱俗): unbounded by convention, free;

I bought this object because I knew right away that I would never get tired of looking at it or touching the warm beautiful wood.

Provenance: The Todd Barlin Collection of Asian Art & Buddhist Art

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us.

Archives: Art For Sale

Two Fine Old Solomon Islands Dance Birds Malaita Island Solomon Islands

INQUIRE HERE

A Rare Old New Guinea Slave Hand-Blocks Geelvink Bay Area West Papua Indonesia 19th C

INQUIRE HERE

A Superb Old New Guinea Kowar Ancestor Figure from Geelvink Bay West Papua Irian Jaya Indonesia

INQUIRE HERE

A Fine Old New Guinea Dance Mask Middle Sepik River East Sepik Province Papua New Guinea

A Fine Old New Guinea Bioma Figure Papuan Gulf Area Papua New Guinea

INQUIRE HERE

A Fine Old New Guinea War Shield Yuat River Lower Sepik River East Sepik Province Papuan New Guinea

INQUIRE HERE

A Superb Old New Guinea Ancestor Figure Upper Sepik River Papua New Guinea

INQUIRE HERE

A Fine Old New Guinea Massim Canoe Ornament Milne Bay Province Papua New Guinea

INQUIRE HERE

A Fine Old Dayak Jar Stopper Dayak People Borneo Island Indonesia

INQUIRE HERE

A Fine Old Japanese Natural Burlwood Hibachi or Hand Warmer

INQUIRE HERE

Join Our Mailing List

Oceanic Arts Australia

Art Categories

Information

Resources