Archives: Art For Sale

Art For Sale

A Fine Old New Guinea Ancestor Figure Humboldt Bay Area West Papua Irian Jaya Indonesia

A Fine Old New Guinea Ancestor Figure from the Humboldt Bay Area of West Papua Irian Jaya Indonesia

This finely carved old Male Ancestor Figure is from what used to be Dutch New Guinea, Humboldt Bay & Lake Sentani are very close to each other and share many similarities in their art styles.  This standing male ancestor with a serene face &  arms held to his side, and his facial features, chest & bellybutton are highlighted with white lime ochre to dramatic effect.

The sculptures from this area of New Guinea have a peaceful presence &  aesthetic whereas in other areas of New Guinea, the sculptures can be aggressive.

The first European to see the area was the French explorer Jules Sébastien Dumont d’Urville, who anchored with his ship the Astrolabe on 12 August 1827 at the natural harbor. He named the site “Humboldt Bay” after the German scientist Alexander von Humboldt, whom he greatly admired and who had shown much interest in the voyage of the Astrolabe. It was more than thirty years later, in 1858, that other Europeans went ashore. They were members of the Dutch research party aboard HMS Etna. The professional draftsman of the expedition, C. B. H. Rosenberg, made the earliest surviving image of the spectacular men’s houses, which characterized the area.

The art experts Simon Kooijman and Jac Hoogerbrugge report the figures were the center of male-dominated ceremonies, most of the figures adorning the men’s houses referenced sexuality with their explicit male and female genitalia.

As Westerners became more exposed to the art of the Pacific Islands, they began to appreciate its formal artistic qualities: modernists identified with its linear elegance and Surrealists found kindred spirits in its abstract patterns and pure sculptural forms. The art of Lake Sentani & Humboldt Bay reached its greatest acclaim in the West in the 1930s. On the impetus of renowned Parisian gallery owner Pierre Loeb, a champion of Surrealist artists such as Joan Miró and Max Ernst, Viot journeyed to New Guinea to collect carved sculptures and purchase tapa paintings known as Maro from local artists. Galleries in Paris and New York highlighted works brought back by Viot, which were shown to a wide public at New York’s Museum of Primitive Art ground-breaking exhibition of 1959.

Provenance: Old Dutch Collection before 1930 & 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 honored 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.

 

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 Pig Carving Massim Culture Milne Bay Province Papua New Guinea

A Fine Old New Guinea Pig Carving Massim Culture Milne Bay Province Papua New Guinea

This very cute stylized carved Pig is from the Massim culture in the Milne Bay Province of Papua New Guinea.

Pigs have always been of social and political, as well as economic, importance. Pigs are often used in dowry payments by a young man’s family to the bride’s family.

Pigs were probably introduced from SE Asia and there is some evidence that they may have been introduced as long ago as 10,000 years BP. Austronesian speakers seem to have introduced pigs of a different kind at some later time. Wild pigs are hunted for food. Domestic pigs are slaughtered for food when other sources of protein are unavailable but mostly kept for important ceremonial occasions, either within a village or in exchange arrangements with neighboring groups.

Some ancient carvings of pigs are known from the Milne Bay province, and one in the Jolika collection of New Guinea Art at the De Young Fine Art Museum in San Francisco is carbon-dated to an early date.

Provenance: Nora Heysen Collection (1911-2003) Heysen was a famous Australian artist and was an official war artist in New Guinea during WW2. 

The Todd Barlin Collection of New Guinea Oceanic Art 

 

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 Ancestral Figure Abelam People Prince Alexander Mountains East Sepik Papua New Guinea

A Fine Old New Guinea Ancestral Spirit Figure Abelam People Prince Alexander Mountains area in the East Sepik Province of Papua New Guinea

This finely carved & painted Ancestral Spirit Figure is known as nggwalndu in the Abelam language. The large expressive face is surmounted by two hornbill birds, birds in New Guinea art can be important clan totems and also anthropomorphic spirit beings that are a half man; primordial bird-men and bird-women who in their creation mythology originally created sacred musical instruments, consisting of bamboo flutes and slit gongs that were kept within the ceremonial houses and played a central role in the ritual life of their communities.

The Abelam people of the Prince Alexander Mountains north of the Sepik River practice perhaps the longest and most spectacular initiation cycle of any New Guinea people. Beginning in childhood, each Abelam male must pass through eight separate initiation rites over the course of twenty to thirty years, before he is a fully initiated man. Each successive ritual requires both a physical ordeal and the viewing of increasingly elaborate displays of sacred objects in specially constructed chambers within the men’s ceremonial house. This process continues until the final rites, in which the initiate is shown the largest and most sacred of all displays—the brilliantly painted figures and other images portraying the powerful clan spirits called nggwalndu. The largest nggwalndu images are used during this final ritual. Although nggwalndu figures are impressive works of sculpture, to the Abelam, their power lies in the bright polychrome paints applied to their surfaces. For the Abelam, paint is a magical substance that endows the figures with supernatural power and beauty. In creating their displays, artists strive to achieve a visual magnificence that will overwhelm the viewer.

Provenance: The Todd Barlin Collection of Oceanic Art

Exhibited & Published: Oceanic Arts Pacifica: Artworks from the Todd Barlin Collection at The Casula Powerhouse Arts Centre 2014 Sydney Australia Page 85

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 Spirit Figure Abelam People East Sepik Province Papua New Guinea

A Fine Old Spirit Figure Abelam People East Sepik Province Papua New Guinea

This Spirit Figure is made by the Abelam People of the East Sepik Province in Papua New Guinea. This very finely carved & ochre painted Spirit Figure in the form of an anthropomorphic Bird Man a powerful spirit called Ngwalndu which are important clan spirits. Representations of them are prominently featured in men’s ceremonial houses, or spirit houses which are the place of important communal rituals and ceremonies. In addition to promoting fertility and health, the Ngwalndu are also responsible for providing yams, a crop that is not just a favourite food but of great spiritual significance for the community. Long yam cultivation, carried out exclusively by men, is the focus of ritual life for the Abelam. So close is the spiritual connection between the ritually attended yams and the grower and his clan that the most prized yams, the largest of the long yams, are named after the grower’s Ngwalndu. In the ceremonial house, Ngwalndu figures preside over initiation ceremonies that reveal the secrets of long yam cultivation and other male powers embedded in the lore of each clan.  The ochre painting in black and white, yellow and red are pigments thought to have magical qualities: red is the most powerful and refers to the substances used for sorcery and long yams.

Collected in the 1950’s – 1960’s.

Exhibited in the exhibition: Oceanic Arts Pacifica at the Casula Powerhouse Arts Centre in Sydney Australia in 2014

Published in the Exhibition Catalogue for Oceanic Arts Pacifica 2014 Page 84

Provenance: The Todd Barlin Collection of 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 Costume Asmat People Northwest Asmat Area West Papua Irian Jaya

A Fine Old New Guinea Dance Costume Asmat People Northwest Asmat Area West Papua Irian Jaya

The Jipae Ceremony is performed to release the spirits of the recently deceased so that their spirits can move on to the afterlife.  Each costume represents a known person.

In the field photo you can see the Jipae costumes being danced in front of the special Men’s House used only for this ceremony.

The ceremony lasts several months (the costumes make occasional appearances at the front of the specially made ceremonial house or Jeu). Women & children only hear the singing & drums coming from the Men’s Houses. They may also see the costumes from the edge of the village.

On the last day of the ceremony, the costumes walk thru the village to receive gifts of food & other items they might need on their journey to the afterworld

The families of the represented deceased throw themselves onto the ground in front of the costumes pulling at them and mourning their departure from this world, it is a very emotional moment. After the intense mourning the costumes disappear into the jungle never to be seen again (they were traditionally left in the trees to decay naturally).

The Asmat people’s main myth is that humans were made from wood/trees.

According to the creation myth, the Asmat people believe that they are the descendant of Fumeripits a creator being that was so lonely that he carved statues out of wood, he then carved a drum, and one day, he played the drum and sang and the wood figures started to come to life. This is the beginning of the Asmat people. That is why trees in the forest are like brothers because the Asmat were created from trees by Fumeripits.  Wood carving is the continuation of the Asmat creation myth.

Provenance: This Jipae Costume was collected by Todd Barlin in 1986 and was part of a larger field collection of Asmat & Mimika objects that are now many museum collections including The Musee Du Quai Branly in Paris.   The Todd Barlin Collection of Oceanic Art

 

 

A Fine Rare New Guinea Ceremonial Figure Asmat People West Papua Irian Jaya Indonesia

A Fine Rare New Guinea Ceremonial Figure called Omu Asmat People West Papua Irian Jaya Indonesia

This Omu Ceremonial Figure I collected in 1986 in the remote Northwest Asmat Area on the South Coast of West Papua Irian Jaya Indonesia.

The Omu Ceremony only occurs very infrequently in a few small villages in the remote NW Asmat Area, I was in this Northwest Asmat Area a lot over the years 1985 – 1989, and during that time I was very lucky to see the Omu Ceremonies in several small villages.

According to the Asmat Omu myth, in the beginning, there were two major clans. The spirit named (secret) whispered to the carvers to make Omu bring fertility to the People and keep them from illness. The bottom part of the tree was the father, and the top was the son. Each clan in the village made one Omu that was exchanged with the other clan to promote harmony. This tradition carries on today, with the bottom part now the older brother, and the top the younger brother.

When the elders decide it is time to make Omu, there are several steps in the feast cycle. The village men begin by making a special feast house for the Omu, called the je ti.

Elders and wow-pits or master carvers go the jungle to find one very tall tree, or two suitable shorter trees, as Omu are always made in pairs. The other men prepare logs, bark, and sago leaves for constructing the house. When the Omu is almost finished, colour is applied and their heads are pushed through a curtain for the villagers to look at from a distance. This is repeated several times over the course of the days leading up to the finished product.

Around this time, some men go out hunting wild boar for the feast, while others go back to the jungle to find a mangrove tree with many buttress roots. They cut it down, strip the bark, then shorten the roots and fashion them into hook shapes. The tree is brought to the feast house and is placed upright near the centre of the house at the upstream end. It will serve as a post to help hold up the house, as well as a support for the Omu during the final portion of the feast.

When they are completed, men first, then women, are encouraged to come into the feast house and touch the Omu to ensure fertility. They are accompanied by singing and dancing. Then the Omu is tied to long poles. This portion of the ceremony takes most of one day and all night.  The spirits have entered the Omu and will remain with the village to bless it. They are now fed sago and water, and tied to the rafters of the house.

Later two groups of young men sneak in the back door of the feast house, carrying bundles of sago leaves representing headhunting victims. These are placed on either side of the main fireplace. The bundles are poked with spears in a mock attack, and then the leaves are removed from the spines, which are tied back into bundles.

In the photos above you can see photos of some of the people inside the ceremonial house ready for the ceremonial cycles to happen.

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.

 

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 Canoe Splash Board Huon Gulf Area Morobe Province Papua New Guinea

A Fine Old New Guinea Canoe Splash Board Huon Gulf Area Morobe Province Papua New Guinea. Dating from the early 20th Century

This old and well-used Canoe Splash Board is from either Tami or Siassi Islands in Huon Gulf Area Morobe Province of Papua New Guinea. Finely carved from a single piece of hardwood.  Literally made to stop waves splashing into the front of a large ocean-going outrigger canoe.  It was also like a car hood ornament in that it showed where you were from & what clan you belong to by the designs used on the canoe splashboard.  The finial is beautifully carved with stylized birds and other clan designs, the front of the splash board has a cross and triangular designs running horizontally. There are 7 worn holes where the splash board was securely attached to the canoe. The back of this splash board also has incised designs.  You can see by the photo above of a Tami Island Canoe where the Splash Board fit.

Provenance: Field Collected by famous Australian collector Peter Hallinan (1938-2015 )

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.

 

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 Headrest Eastern Highlands Papua New Guinea

SOLD PLEASE SEE OTHER FINE ARTWORKS

A Fine Old New Guinea Headrest Eastern Highlands Papua New Guinea

This old and well-used Headrest or Neckrest is from the Eastern Highlands Province of Papua New Guinea. In the form of a Zoomorphic animal that used the natural shape of the tree branch, it was made from. Three-legged Headrests are found in other areas like East Africa and it must be a pleasing & functional manner in which to make a Headrest sturdy to lay one’s neck on when resting.  In New Guinea many of the cultural groups the men had elaborate hairstyles that took time and effort to maintain. The headrests kept their hair from touching the ground and getting flat while sleeping. We have a hard time understanding how this could be comfortable enough to be able to sleep but it must be okay since cultures around the world made & used wood headrests like this example. To me, it looks like an animal stretching its back as dogs do when they lean forward.

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 Fine New Guinea Yamate Ancestor Board Kamoro Mimika People South Coast West Papua

A Fine New Guinea Yamate Ancestor Board, Kamoro Mimika People South Coast West Papua Irian Jaya Indonesia 

This beautiful Yamate Ancestor Figure is best described as a two-dimensional ancestor figure, Yamate is finely carved in slightly different forms and then incised with designs & ochre painted.

The Kamoro are also referred to as the Mimika which is a reference to the “Mimika River” where they live, they are related to the more well-known Asmat people their neighbors to the east and they both speak the same language. The Kamoro people were tired of the endless headhunting & revenge within the Asmat area and they moved up the coast out of easy reach of the Asmat head-hunters.

The Kamoro art reflects their more peaceful and gentle nature, their artworks are more subtle and not aggressive like their Asmat neighbors, they also use colours and designs that are not found in the Asmat area.

Much of the art of the Kamoro people of southwest New Guinea centers on ceremonies and wood carvings that honour the spirits of individuals who have recently died.  Portraying recently deceased ancestors, Yamate were primarily created during the emakame, a complex ritual honouring the dead and celebrating the renewal of life. A pivotal event in the Emakame was the revealing of a group of Yamate, each of which represented a specific deceased person, whose name it bore. Some Yamate were also used on festive occasions as ornaments on the prows of canoes.

In the early 1980’s I spent several months living with the Kamoro in two villages in the Eastern Mimika area, these long visits were the opportunity to really get to know people well & to be invited back to attend traditional ceremonies for The Mbitoro Ancestor Poles, during these ceremonies that last up to one year, there was the occasion when Yamate were made and displayed outside their amazing ceremonial house.

This Yamate along with other carvings collected over a two-year period in 1985-1986 are now in major museum collections around the world including The  Musee du Quai Branly Museum in Paris, when you walk into the Oceanic Art Pavilion the first thing you see are monumental Ancestor Poles from the Asmat & Kamoro (Mimika) collected by me, they were originally in an exhibition ” The Asmat et Mimika “ at The National Museum of African and Oceanic Art in 1996 (now that museum is part of The Musee du Quai Branly).  The exhibition the Asmat and Mimika in 1996 was published in the prestigious Louvre Museum Magazine

Provenance: The Todd Barlin Collection of New Guinea Oceanic Art

 

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 Ceremonial House Lintel Kamoro Mimika People West Papua Irian Jaya Indonesia

A Fine Old New Guinea Ceremonial House Lintel, Kamoro Mimika People West Papua Irian Jaya Indonesia

This beautiful Ceremonial House Lintel is from the Kamoro people in the Eastern Mimika Area on the South Coast of West Papua Irian Jaya Indonesia. The lintel is also an Ancestor Board called Yamate which is a two-dimensional ancestor figure. Yamate Ancestor Boards were finely carved in different forms and have incised & painted designs that reflect the clan’s own ancestors.

Much of the art of the Kamoro people of southwest New Guinea centers on ceremonies and wood carvings that honor the spirits of individuals who have recently died.  Portraying recently deceased ancestors, Yamate was primarily created during the emakame, a complex ritual honoring the dead and celebrating the renewal of life. A pivotal event in the Emakame was the revealing of a group of Yamate, each of which represented a specific deceased person, whose name it bore. Some Yamate was also used on festive occasions as ornaments on the prows of canoes.

The Kamoro are also referred to as the Mimika, they are related to the Asmat their neighbors to the east. The Kamoro people were tired of the endless headhunting & revenge with the Asmat and they moved up the coast out of easy reach of the Asmat headhunters.  The Kamoro art reflects their more peaceful and gentle nature.  Their artworks are more subtle than their Asmat neighbors & they use colours and designs that are not found in the Asmat area.

In the early 1980’s I spent several months living with the Kamoro in two villages in the Eastern Mimika area. These long visits were the opportunity to really get to know people well & to be invited back to attend traditional ceremonies for The Mbitoro Ancestor Poles, during these ceremonies that last up to 1 year there were Yamate made and displayed outside the amazing ceremonial house made from the ceremonies. I have included a couple of field photos from this time.   The monumental Mbitoro Ancestor Poles (about 6 meters tall)

This Yamate along with other carvings collected over a 2 year period in 1985-1986 and most of the objects collected are now in major museum collections around the world like the Musee du Quai Branly Museum in Paris. When you walk into the Oceanic Art Pavilion the first thing you see are monumental Ancestor Poles from the Asmat & Kamoro (Mimika)  along with a Soul Boat, Shields, and dance costumes from the Asmat & Mimika, all of those artworks were collected by me at the same time as this Yamate. 

Provenance: The Todd Barlin Collection of New Guinea Oceanic Art 

 

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.