Stone Buddha Shan State Burma 18th Century

This superb old Buddha Figure is from  the Shan State in Burma.  Carved from a single piece white marble like stone.

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 lap with palm upright and his right hand touching the earth. This Mudra symbolises 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!”

Old Kina Necklace Mendi Valley Southern Highlands Papua New Guinea

This beautiful old Shell Pectoral Ornament called Kina is from the Mendi Valley area of the Southern Highlands Province of Papua New Guinea.  This shell ornament is made from the Gold Lip Pearl Shell or Pinctada Maximums and  is covered in red ochre. Shells in general were highly valued as traditional wealth by the people in the interior of New Guinea where they had to travel through trading from the coast where they were collected to hundreds of kilometres through some of the most rugged terrain on the planet. These were used as an ornament during traditional ceremonies as in the photo of the man wearing one in my photos but they were also used as a traditional currency and often used as bridal dowries paid by a young mans family.  This old example you can see the wear on the holes where it was hung by the rope around the neck and the warm patina from wearing and handling over many years and probably generations. When I first went to the Mendi Valley area of Southern Highlands in 1985 these shells seemed reasonably plentiful but by 1988 people in the villages said they were now harder to find and more expensive.  This old shell comes in the original bark wallet that these heirlooms are stored in.  Some of these date from the 19th to early 20th Century

I bought this Kina Necklace in the Mendi Valley in 1985.  I still have a few other old examples for sale and even some on custom made stands so they can sit on a table or shelf to dramatic effect, please ask.

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Mask Helmet Abelam People East Sepik Papua New Guinea

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Wood Masks worn on the head area are extremely rare with the Abelam people who live in the East Sepik Province of Papua New Guinea. The Abelam are best known for their woven masks call Baba Tagwa.  The Abelam and neighbouring peoples of the Prince Alexander Mountains in the Sepik region of northeast New Guinea create several types of basketry masks. They include the type known in the Abelam language as baba tagwa, which is worn over the head like a helmet, as well as the yam masks used to decorate the gigantic long yams grown and exchanged competitively by Abelam men. Among the Abelam, baba tagwa masks are associated with the male initiation cycle, in which they are worn by men clad in shaggy costumes made from strips of leaves. During certain ceremonies, these imposing masked figures serve as guards. Brandishing lengths of bamboo or other weapons, the baba tagwa drive off women, children, and uninitiated men, who are not permitted to witness the secret initiation rites.  This mask dates from the 1940s-1950s.

Provenance : Important Australian Collection

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Bailer Shell Necklaces, Southern Highlands Papua New Guinea

These large old Shell Pectoral Ornaments are from the Southern Highlands Province of Papua New Guinea. Shells in general were highly valued as traditional wealth by the people in the interior of New Guinea where they had to travel through trading from the coast where they were collected to hundreds of kilometres through some of the most rugged terrain on the planet. These cut Bailer Shells were used as an ornament during traditional ceremonies as in the photo of the man wearing one in my photos but they were also used as a traditional currency and often used as bridal dowries paid by a young mans family.  These two examples are old, you can see the wear on the holes where it was hung by the rope around the neck and the warm patina from wearing and handling over many years and probably generations. When I first went to the Mendi Valley area of Southern Highlands in 1985 these shells seemed reasonably plentiful but by 1988 people in the villages said they were now harder to find and more expensive.  I have put these two shells on beautifully made custom stands where the shell appears to be floating . they can also be displayed on a table or shell with dramatic effect.

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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 Massim Ancestor Figure by Mutuaga Milne Bay Province Papua New Guinea

A Fine Old Massim Ancestor Figure by the Master Carver Mutuaga from Milne Bay Province Papua New Guinea

This superb Ancestor Figure was carved by the 19th Century Master Carver Mutuaga from Dagodagoisu village, Massim region, Milne Bay Province, Papua New Guinea.  Out of artworks, Mutuaga made his ebony figures both free standing like this example or sitting on a stool are some of the finest artworks he carved.

This figure has been authenticated by Dr. Harry Beran author of the book  ” Mutuaga: a 19th Century New Guinea Master Carver ”

As described by Mr Crispin Howarth Curator of Pacific Art at the National Gallery of Australia in Canberra;

”  It is rare that a Melanesian work of art from the nineteenth century can be attributed to an artist with any certainty, so the artist known as Mutuaga is a phenomenon. He is the only named New Guinean artist who was active during this period and who is responsible for a known body of outstanding work characterized by small yet monumental figurative sculpture.

The artist was known to be of a positive and cheerful disposition and, as a carver of great standing, Mutuaga was nicknamed Oitau (carved man) by his peers. His ability to transform the utilitarian object—in this case, a lime spatula (known as enale or gem in the Suau area)—and to make it into something attractive and covetous was exceptional. While all lime spatulas from the Milne Bay Province are decorated to some extent, and many also include a small figure as the handle, Mutuaga’s works are usually far larger and show a greater level of sculptural strength.

Little was known about the artist’s identity until 1996, when art historian Dr Harry Beran published groundbreaking research. Beran identified Mutuaga and his body of work through some hundred sculptures that had been mainly sitting unrecognized in museum collections. We now know Mutuaga was born around 1860 in Dagodagisu Village in the Milne Bay province of Papua New Guinea. He died around 1920.

Mutuaga, although he did not adopt Christianity, gained the friendship and patronage of the missionary Charles Abel at the nearby Kwato Island Mission. Mutuaga’s relationship with Abel provided a conduit for his art beyond the traditional exchange practices of his community. Missionaries, commodores and even two of Papua’s first governors acquired Mutuaga’s sculptures. Unsurprisingly, many of these works later found their way into galleries and museums across the world. ”

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

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Architectural Carving India 19th Century

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This old carved wood frieze of Hindu Deities was part of a larger structure from India.  Possibly depicting ( left to right) Vishnu, Shiva, and Brahma, the three Hindu gods of the Trimurti.  on the back there is some iron fastenings and an old label. Carved from a single piece hardwood and with a deep brown / black patina overall.  Dating from the 19th Century or earlier.

If you know more about this artwork, please let me know.

 

A Fine Old Australian Aboriginal Shield Lagrange Bay West Australia 19th C

A Fine Old Australian Aboriginal Shield Lagrange Bay West Australia 19th C

This finely carved old shield is unique because normally La Grange Bay shields have the incised interlocking key designs only on one side being the back of the shield and the front is either undecorated or has vertical striations but this fine example has incised interlocking key designs on both sides.  This is the only shield I have seen that has the same beautifully incised designs on both sides.

These designs are unique in Australia to Karadjeri People of the La Grange Bay Area of the Northeast Coast of Western Australia. This design is also found on the famous pearl shell ornaments call “Longka Longka” from this area.

This design is also sometimes found on Spear Throwers but it is on the back of the Karadjeri shields where the design is executed in the most elegant manner,

Reference:

Interlocking Key Design in Aboriginal Australian Decorative Art. Dr. D. S. Davidson. First published: September 1949

Provenance: The Todd Barlin Collection of Oceanic & Aboriginal Art 


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Shield, Kimberley Area, West Australia 19th Century

This finely carved Kimberley shield with fine incised herringbone design on the front and the back having incised linear striations over the entire surface and bisected with horizontal sections. The lug handle and entire shield with old use patina and traces of red ochre.

One of the most beautiful motifs in aboriginal art is the herringbone design, a design prominent at one time or another in many parts of the world, including ancient Greece, China and Peru.

Reference:

Interlocking Key Design in Aboriginal Australian Decorative Art. Dr. D. S. Davidson, First published: September 1949

Provenance: The Todd Barlin Collection

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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.

 

Breast Shield Ramu River Area Madang Province Papua New Guinea

Breast Shield Ramu River Area Madang Province Papua New Guinea 19th Century 

This ancient stone-carved Breast Shield is from the Josephstaal area in the Middle Ramu River area of Madang Province Papua New Guinea.  This is a rare type of shield that a man wore over his chest to protect from arrows. It must have hung around his neck with a rope from the two worn holes seen in the photo. Its hard to see the very old designs incised to the upper part of the shield, it looks much better in real life.

Provenance: Collected by Andy Kugler in 1967. Kugler was working in the upper Sepik Area at the same time that Douglas Newton the curator of Oceanic Art at The Museum of Primitive Art in New York the forerunner of The Micheal Rockefeller Wing of Oceanic Art at The Metropolitan Museum of Art in New York City.  Kugler had much of his collection on loan with The Museum of Primitive Art and some of these artworks were published in the famous book on the upper Sepik cultures: ” Crocodile & Cassowary ” 1971 by Douglas Newton.

The Todd Barlin Collection of Oceanic Papua New Guinea 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 Superb Old New Guinea Shell Ornament Yangoru Boiken Area East Sepik Papua New Guinea

This beautiful old shell ornament is from the Yangoru Boiken people in the East Sepik Province of Papua New Guinea , this type of ornament is often called a Kap Kap this is a pidgin English word or term for an ornament that is made with a white shell base and a cut out turtle shell design as an overlay. In this case the cut out is a lizard which is a common motif for these ornaments.  Worn in the hair or as a pendant during ceremonies and it is also a type of traditional wealth objects that are used in bridal dowries paid by a young mans family.

This example also has a very fine cane chain from the centre of the Kap Kap & leading to a very old dangling boars tusk as see in the photo.

Provenance:  Collected by Peter Hallinan (1938-2015).  Peter was a very well liked and respected expert on New Guinea art and made 40- 50 trips over the late 1960’s and 1970’s.