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Art For Sale

Shell Wealth Bridal Ornament

This finely woven bridal ornament is a wealth object is called ambusap in Iatmul language. These are used as part of exchange ceremonies between clans as a dowry. The string is all hand made from tree bark fibre and the hundreds of tiny Nassa shells are individually stitched in rows to get the best aesthetic look, the bottom ending in a crocodile head, bailer shells cascade down the centre of the back & the sides have multiple pearl shell dangles. Early to mid 20th Century. The field photos shows a similar bridal ornament with an older woman in the village. These are very important family heirlooms that are traditional wealth.

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A Superb Pair of Buddhist Ritual Cabinet Doors with Face of Mahakala Tibet

A Superb Pair of Buddhist Ritual Cabinet Doors torgam painted with the face of Mahakala Protector Deity from Tibet

This very fine pair of old painted ritual cabinet doors called Torgam painted with the face of a Mahakala Deity from Tibet.  Mahākāla is a protector deity known as a Dharmapala in Vajrayana Buddhism, particularly in most Tibetan and Mongolian traditions. T

his cabinet was designed to house utensils for ritual activity, likely in a chapel where invocations were performed for the protective deities.

Painted on uneven wood panels and dates from the 19th Century.

Provenance: Suzy Lebasi Collection. The Todd Barlin Collection

Exhibited: The Art of Compassion: Buddhist Art from the Todd Barlin Collection 2018 Sydney Australia

Published:  The Art of Compassion: Buddhist Art from the Todd Barlin Collection 2018 Sydney Australia Page 38

A Superb Collection of Antique Kris Sword Handles Indonesia 18th -19th Century

A Superb Collection of 20 Antique Kris Sword Handles or Hulu from Indonesia dating from the 18th -19th Century

This collection of 20 antique Indonesian Kris Handles (three are actually Betel Knife Handles) was collected over 40 years, many were acquired from the well-regarded Indonesian Art Dealer Daeng Iskander, who had put together a part of the Barbier Mueller Collection of Indonesian Art now in The Musee du Quai Branly in Paris France.  These miniatures masterpieces of art when placed together as a collection are amazing to look at and fantastic to hold in your hand.

Each Kris Handle has such great detail & artistry and the old patina shows long handling & use.

Provenance: Daeng Iskander Collection Bali, The Todd Barlin Collection & The Elizabeth Pryce Collections

Kris has been produced in many regions of Indonesia for centuries, but nowhere is the Kris so embedded in a mutually-connected whole of ritual prescriptions and acts, ceremonies, mythical backgrounds, and epic poetry as in Central Java.

A Kris can be divided into three parts: blade (bilah or wilah), hilt (hulu), and sheath (warangka). These parts of the Kris are objects of art, often carved in meticulous detail and made from various materials: metal, precious or rare types of wood.

Both a weapon and spiritual object, Kris are often considered to have an essence or presence, considered to possess magical powers, with some blades possessing good luck and others possessing bad. Kris are used for display, as talismans with magical powers, weapons, sanctified heirlooms (pusaka), auxiliary equipment for court soldiers, an accessory for ceremonial dress, an indicator of social status, a symbol of heroism, etc.

Legendary Kris that possess supernatural power and extraordinary ability were mentioned in traditional folktales, such as those of Empu Gandring, Taming Sari, and Setan Kober.

The history of Kris is generally traced through the study of carvings and bas-relief panels found in Southeast Asia. It is believed that the earliest Kris prototype can be traced to Dongson bronze culture in Vietnam circa 300 BC that spread to other parts of Southeast Asia. Another theory is that the Kris was based on daggers from India. Some of the most famous renderings of a Kris appear on the bas-reliefs of Borobudur and Prambanan temple.

According to traditional Javanese kejawen, Kris contains all the intrinsic elements of nature: tirta (water), bayu (wind), agni (fire), bantolo (earth, but also interpreted as metal or wood which both come from the earth), and aku (lit: “I” or “me”, meaning that the Kris has a spirit or soul). All these elements are present during the forging of Kris. Earth is metal forged by fire being blown by pumped wind, and water to cool down the metal. In Bali, the Kris is associated with the nāga or dragon, which also symbolizes irrigation canals, rivers, springs, wells, spouts, waterfalls and rainbows; thus, the wavy blade symbolizes the movement of the serpent. Some Kris have the head of a naga (dragon) carved near the base with the body and tail following the curves of the blade to the tip. A wavy Kris is thus a naga in motion, aggressive and alive; a straight blade is one at rest, its power dormant but ready to come into action.

The handle or hilt (hulu) is an object of art, often carved in meticulous details and made from various materials: precious rare types of wood to gold or ivory. They were often carved to resemble various animals and Hindu deities,  In Bali, Kris handles are made to resemble demons coated in gold and adorned with semi-precious and precious stones, such as rubies. In Java, Kris handles are made in various types, the most common design being the abstract stylized representation of the human form.

Further reading :
• David van Duuren, The Kris; An Earthly Approach to a Cosmic Symbol. Wijk en Aalburg (The Netherlands): Pictures Publishers, 1998.
• David van Duuren, Krisses; A Critical Bibliography. Wijk en Aalburg (The Netherlands): Pictures Publishers, 2002.
• Vic Hurley; Christopher L. Harris (1 October 2010). Swish of the Kris, the Story of the Moros, Authorized and Enhanced Edition. Cerberus Corporation. ISBN 978-0-615-38242-5.
• Gardner, Gerald B., Keris and Other Malay Weapons Orchid Press; Reprint Edition 2010 ISBN 978-974-8304-29-8 (Originally printed 1936 Singapore:Progressive Publishing Company)
• W.H. Rassers, ‘On the Javanese kris’, in: Bijdragen tot de Taal-, Land- en Volkenkunde 99, 1940, pp. 377–403.

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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 Abelam Woven Yam Mask Prince Alexander Mountains Area East Sepik Province of Papua New Guinea

A Fine Old Abelam Woven Yam Mask from the Abelam People in the Prince Alexander Mountains Area of the East Sepik Province of Papua New Guinea

This finely woven & ochre-painted Mask was used in Yam Harvest ceremonies that are at the heart of the Abelam Culture. They are used solely to decorate large ceremonial Yams.

Lavishly adorned for the presentation ceremony, the finest long yams are essentially transformed into human images, decorated in the manner of men in full ceremonial regalia. The “heads” of the enormous tubers are adorned with specially made yam masks such as this one, which is made exclusively for yams and is never worn by humans.

One of the major focuses of ceremonial life among the Abelam people of northeast New Guinea is the competitive growth and exchange of long yams. The Abelam cultivate two distinct categories of yams—a small variety used as ordinary food and long yams, massive tubers that can be as much as twelve feet long. A man’s social status is determined largely by his success in growing long yams.

Each man has a permanent exchange partner to whom he ceremonially presents his largest yams following the annual harvest, later receiving those of his rival in return. Men who are consistently able to give their partners longer yams than they receive gain great prestige.

Provenance: The Todd Barlin Collection of Oceanic Art

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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 Japanese Vine Sculpture

A Fine Japanese Vine Sculpture

This beautiful sculpture is made from a tangled mass of vines that were encouraged together with this beautiful outcome.

Provenance: The Todd Barlin Collection of Oceanic & Asian Art

 

Rare Magic Bone Abelam People East Sepik Province Papua New Guinea 19th C

This very old magic bone is from the Abelam People in the East Sepik Provenance of Papua New Guinea.  The deeply incised designs around the entire outside of the bone tube. Warm rich patina from handling.  Dating from the late 19th Century

Provenance: Collected by Anthony Forge (1929-1991)  Professor of Anthropology in the Faculties at ANU Canberra in the 1970s. He did extensive research in the Sepik River area in the 1960’s-70s.

 

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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 Pair of Finely Painted Ceremonial Boomerangs from Central Australia

A Pair of Finely Painted Ceremonial Boomerangs from Central Australia

This pair of finely carved and painted Boomerangs from Central Australia. Boomerangs like these are used for hunting animals and can be thrown with great precision,  they can also be used as dance wands during important ceremonies. You can find old photos of traditional ceremonies in Central Australia that men are holding painted boomerangs like these.  Boomerangs have their own mythology of how they were given from Ancestral Beings who taught men how to make them and hunt with them. Dating from the mid-20th Century,\.

Provenance : The Todd Barlin Collection of Oceanic and Australian Indigenous Art

A Fine Old New Guinea Arm Guard Marind Anim People West Papua Irian Jaya Indonesia

A Fine Old New Guinea Arm Guard Marind Anim People West Papua Irian Jaya Indonesia

This superb large and finely woven rattan Bowman’s Armguard is from the Marind Anima Tribe on the South Coast of West Papua, Irian Jaya Indonesia

This kept an archer’s forearm from getting cut if the bowstring broke which could cut an artery and cause death. Dating from the 19th Century.  I field-collected this fine arm guard in Kuper Village from Gabriel Mahuze, it belonged to his grandfather.

The Marind Amim People I spent a lot of time with the years 1986- 1987, I made over 30 trips to this area of West Papua and was very privileged to be able to see the amazing traditional Dema performances that were seen for the first time since the beginning of the early 20th Century.

Provenance: The Todd Barlin Collection of New Guinea Oceanic Art 

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 honoured by being in the prestigious Louvre Museum Magazine for the collections I made for The Museum of African & Oceanic Art Paris in 1996 (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 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 Superb Old New Guinea Mask Lower Sepik River Area East Sepik Province Papua New Guinea

A Superb Old New Guinea Mask Lower Sepik River Area East Sepik Province Papua New Guinea This old and well-used Mask dates from the early 20th Century

Powerful Brag masks like this example were only danced on rare occasions, including the initiation of young males and at times of scarce food and other village hardships. Each individual mask was known by a unique name and was danced by an initiated male concealed in a plant fiber costume covering the whole body of the dancer. The dancer becomes the powerful spirit for the time it is being danced. This finely carved mask with layers of ochre-painted decoration has left an encrusted patina from decades of use.  The nose is carved to represent the concentric shell nose decorations that were worn by men in the 19th Century.  The back of the mask shows the real age & use of traditional tools like a shell rasp.

In the Sepik River area people’s ceremonial & spiritual life revolves around masks, usually, dance masks worn by a select person but also large masks for the gables or windows of the monumental Ceremonial Haus Tambaran or Men’s Ceremonial House where all the important rituals & initiations take place and where scared objects like masks are stored and venerated.

Provenance: Old Collection Australia The Todd Barlin Collection of New GUinea Oceanic Art

See all of the links & photos in my new EXHIBITIONS GALLERY  showing the Museums & Art Gallery 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 Early Wood & Lacquer Buddha from Shan State Burma 18th Century

This superb old Buddha Figure is from the Shan State in Burma. Carved from a single large piece of teak wood and covered in traditional lacquer with traces of gold leaf.

This beautiful Buddha is dressed in relatively simple monastic robes, defying his princely status. He sits cross-legged on an ornate platform, in bhumisparshamudra – his left-hand rests, palm upward, on his lap, and the right-hand rests over his right knee, calling the earth to witness.  The Buddha with characteristic Shan traits including a triangular face delineated with a broad forehead, eyebrows that arch high over his narrowly opened eyes, a pointed nose, pursed thin lips, large and elongated ears, and a short neck. His hair coiffed in a lovely ushnisha is topped by a pointed crown. Shan Buddhas, like this example, are often seated in Vajrasana pose with hands in Bhumisparsha or calling the earth to witness Mudra, his left hand on the lap with palm upright and his right hand touching the earth. This Mudra symbolizes the moment of Buddha’s enlightenment. According to legend, Siddhartha Gautama (the historical Buddha) was attacked by a demon Mara with legions of frightful monsters. They intended to scare Siddhartha away from the sacred Bodhi tree. However, Siddhartha would not move. Mara then dared to claim Siddhartha’s seat of enlightenment for himself, claiming that his spiritual deeds were more significant than Siddhartha’s. Mara’s monsters cried out, “I am his witness!” and Mara looked at Siddhartha and challenged, “Who will speak for you?” Siddhartha’s replied without words, instead, he reached out his right hand to touch the earth, and the earth boldly pronounced, “I bear you witness!”

Provenance: The Todd Barlin Collection of Buddhist Art

Exhibited: The Art of Compassion: Buddhist Art from the Todd Barlin Collection 2018

 

 

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