Art For Sale Archive - Page 2 of 53 - Oceanic Arts Australia

A Superb Old Bougainville Island Dance Club 19th Century New Guinea

A Superb Old Bougainville Island Dance Club, New Guinea, 19th Century ( Photos show the beautiful Carving on both sides )

This superb old Dance Club is from the Bougainville or Buka Islands and dates from the late 19th Century.

Over the 40 years, I have been collecting Oceanic Art. This is the finest Dance Club from Bougainville I have seen outside of Museum Collections.

These fine old Ceremonial Paddles called kokorra were made only on the two Islands of Buka and Bougainville in Papua New Guinea. The Paddles are important ceremonial objects associated with the life cycle ceremonies and rituals of the highest-ranking chiefs. Its iconography refers to a recurring cycle of birth, life, marriage, death, and the passage to the afterlife.

The anthropomorphic designs on this paddle are known as kokorra, which is also a name given to the decorated Ceremonial Paddles themselves.

The designs on the Paddles are finely carved & ochre-painted in the colours of red, black and white. The Paddles were made by Master Carvers & ritual experts who knew the genealogy of the clans & their sacred designs.

Bougainville is a matrilineal society in which land is owned by women and chiefly titles pass through the female line. The highest rank of chief is the Patu, a position that is considered equivalent to sacred beings. Nakaripa and Naboen Clans each have a Tohe Kau Mal (female paramount chief) and her brother, the Tsunono Mal (male paramount high chief). The second in line to the chiefs fulfils the role of voice, or knowledge holder, and acts as the bridge between the chiefs, clan members and the general public.

The kokorra figure represents a foetus (koreritu) a symbol of creation and journeys in life. The figures on these paddles wear upe (ceremonial hats or headdress) which on Bougainville are worn by young male initiates (see photo below). On Buka, the upe is worn by the male chief during the mourning ceremony and ritual for a Paramount Chief who had passed on.

The overall design composition on this paddle therefore refers to the creation of life, and the passage to Kolu, the land of the ancestors. According to local belief, when a chief is ready to die two eagles will fly above the village, giving that chief permission to pass through the sky as he/she travels to Kolu.

Such paddles would be used in several different ceremonies, during a wedding ceremony, the paddles would be held by the bride as she is carried to meet the family of her future husband. If the marriage is accepted, the bride passes the paddle to her aunt on her mother’s side, who keeps it until the bride falls pregnant, at which time the paddle would be placed at the at the front of the woman’s house to announce the pregnancy. It is then kept in a tsuhana (clan meeting house). When the chief dies the paddle will be placed on her grave to gradually decay, completing the life cycle of the carving.

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 neighbours.

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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

Superb Old Tongan Islands Polynesian War Club 19th Century

A Superb Old Tongan Island War Club Polynesian dating from the 19th Century

Tongan War Clubs are some of the most beautifully carved objects from Polynesia. They were objects of great prestige and held Mana or spiritual power that was passed on through generations of the Chiefly Club’s owners

The fine old club called Pakipaki or “Coconut stalk”, the groups of stacked horizontal ridges increase in number as they ascend the length of the club, as if building momentum in both number and power to culminate in the lethal striking face at the top.

Clubs in Tonga were historically to be found in a broad range of cultural contexts, from warfare to sport, dance, religion, and the complex everyday use of the chiefly class. Clubs were significant artifacts in historical Tonga.

The clubs were shaped with a stone adze blade which was lashed to a wooden handle. After the club was made, it was smoothed with a rasp made from sharkskin. The carved decoration was probably done with a special chiselling tool consisting of a shark’s tooth lashed to a wooden handle.

Originally, these clubs were used in single combat during the wars between Tongan chiefs. Before Christianisation, in Tonga as in Fiji, there were plenty of occasions to shed blood: among many other reasons for war, one can mention personal quarrels, the greed for territory or women, an insult, the violation of a taboo or the irrepressible desire of revenge15. The aim was to kill the opponent with several blows on his head: the higher the death toll of the weapon, the more mana it gathered. The club thus linked the chiefs with gods and ancestors.

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

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A Superb Old Nagaland Warrior Figure off a Morung Ceremonial House, Lainong Naga People Burma 19th-early 20th Century

A Superb Old Nagaland Warrior Figure off a Morung Ceremonial House, Lainong Naga People, Burm,a 19th-early 20th Century

This powerful and expressive sculpture of a standing Nagaland Warrior figure trampling on a defeated enemy. This was once on the facade of the Nagaland Ceremonial House, known as a Morung. The warriors’ erect penis would have several possible meanings: the masculine aggressive aspect & fertility for their community, but also the influences from the ancient Hindu Deities like Shiva that surrounded their cultures.

The Lainong people, also known as the Lainong Naga, are a Tibeto-Burmese ethnic group that mostly resides in the Naga Self-Administered Zone in Burma (Myanmar). They are one of the major Naga ethnic groups of Myanmar, and mostly inhabit the Lahe and Hkamti Townships

The Naga people are well known for their artworks and elaborate architecture,that are at the heart of their spiritual and cultural lives.

The Morung Ceremonial Houses fulfill various functions; it is a sleeping place for the young unmarried men and in former raiding days it served as a guard-house for the warriors. Young people staying in the Morung learn about social practices and beliefs from their elders and initiation ceremonies, festivals and other rituals.

In every Morung, there is a huge wooden drum (slit gong drum) carved out of a single tree trunk. In days of head-taking, a captured head would be brought to the Morung or its slit gong, where the necessary rituals would then be performed.

The making of the slit gong drum and the building of the Morung houses with their rich decorations made the Naga famous for their wood craftsmanship. The specialist artists carve the wooden panels for the Morung house from single pieces of wood, with figures that symbolize their rituals and mythical figures, like human skulls, buffalos, tigers, lizards or head-hunting scenes like this fine old sculpture.

The tools used are simple: the Dao (machete), hand drill and chisel. Functional objects such as a husking table or dishes and small ornaments might be carved by any man, but the grand-scale carving of house-posts, grave effigies, village gates and log-gongs are done by ritual specialists or carved on special occasions.

When a new Morung is built a very large tree is cut in the forest areas during the harvest festival. The tree trunk is pulled out of the forest and up the hill with ropes. In some cases, more than 100 people can be seen pulling the ropes, and the actual journey may take a whole week.

This figure was carved away from a larger architectural post as seen in photos of similar historic Morung’s buildings (below). The way that the legs on this figure are jointed at the knees was almost certainly the artist’s ingenious way of dealing with a fault in the timber of lack of remaining timber to finish the legs from the knees below.

Provenance: Old Collection USA and The Todd Barlin Collection of New Guinea Oceanic and Asian Art

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A Fine Old New Guinea Imunu Spirit Figure Papuan Gulf Area Papua New Guinea

A Fine Old New Guinea Imunu Spirit Figure, Papuan Gulf Area Papua New Guinea

This very beautiful old Imunu Figure was made by an artist from the Bamu River Area of the Papuan Gulf on the South Coast of Papua New Guinea.

Carved from the roots of the mangrove trees, where the natural form is found in the tree, and only small carved designs are added to represent powerful spirits that dwell in the bush and in isolated swamps. Imunu, representing these spirits in their visible form is originally used to cajole or coax supernatural beings into attending to human needs and protection.

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

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 called Ravi 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.

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

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A Superb Old New Guinea Basket Hook Figure Middle Sepik River Area East Sepik Province Papua New Guinea

A Fine Old New Guinea Basket Hook Figure, Sawos People, Middle Sepik River Area, East Sepik Province Papua New Guinea

This fine old used Basket Hook Figure is most likely from the Sawos People in the Middle Sepik River area in the East Sepik Province of Papua New Guinea.

Finely carved in the form of a standing female ancestor, her feet resting on the top of the hook, where once the string bags were hung/

Her legs are slightly bent, and his hands held to his hips, and she has incised scarification on her stomach, just as a woman once had in the villag,e signifying their clan affiliations. She has cowrie shell eyes and a fibre nose ornament,

This fine Basket Hook figure has a deep aged patina from long use and handling and on the hook where the food bags were once hung.

Basket hooks were used to hang from the ceiling by a rope and string bags of food or other important objects that then could not be reached by rats or mice. A simple effective technology used by cultures around the world.

Sepik River artists made many beautiful utilitarian art objects that were both functional and a way of honouring and making visible their ancestors daily.

Collected by Martin Gross (1922-2017) in 1968 in Andabu, Papua New Guinea

Provenance: The Todd Barlin Private Collection of Oceanic Art

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Superb New Guinea Massim Lime Spatula Milne Bay Province Papua New Guinea 19th Century

A Superb New Guinea Massim Lime Spatula, Milne Bay Province, Papua New Guinea, dating from the 19th Century

This beautiful old Lime Spatula is of the high quality of aesthetics that Massim Master Carvers could achieve working on this scale. After carving & polishing, the artist would put white lime into the incised designs to highlight them.

This Lime Spatula may have been made by ” The Master of the Concave Back” according to the late Massim expert Dr. Harry Beran. This carver had a unique style & is easily identified by Dr Brean in several of his books on Massim Art. This Lime Spatula is the largest, most beautiful, and expressive figure that I have owned in 40 years of collecting

The utensils made for chewing betel nut are some of the most beautiful, smaller-scale carvings ever made in New Guinea. Lime Spatulas are usually carved from a dark native hardwood with elaborately carved finials depicting stylised human ancestor figures and or animals.

Lime Spatulas were used for chewing betel nuts by dipping the end of the spatula into powdered lime (crushed & burnt sea shells) & licking it off as you put a Betel Nut from the Acacia Palm to chew together, the lime diffuses the alkaloids in the Betel Nuts.

In the Massim Culture, chewing Betel Nuts is an important daily ritual. Betel Chewers would have a lime gourd & spatula for dipping into the lime, and older men with poor teeth would also have a small mortar and pestle for crushing the nuts into a mush that was easier to eat.

Many of the most beautiful Massim Lime Spatulas were made by Master Carvers for use only by important Chiefly Persons. The motifs are part of the Massim belief system & spirituality.

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

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

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A Fine Old Asmat Figure Group Asmat People West Papua Irian Jaya Indonesia New Guinea

A Fine Old Asmat Figure Group, Asmat People, West Papua, Irian Jaya, Indonesia, New Guinea

This very beautiful old ancestor figural group or kawe is one of my favorited Asmat sculptures that I have ever owned. This is the old style of Asmat Art, the figures carved from a single piece of lightwood mangrove tree.

Comprised of two ancestor figures, a head and a dog, all seen only in profile. The thin, elegant figures may represent a family group with dog, the single head would likely relate to the headhunting that the Asmat were once famous for.

Old Asmat Ancestor Figures never had a flat base because they were tied to the wall inside the men’s ceremonial house or jeu. The figure has an old, dry patina, as really old Asmat pieces should have.

The main Asmat creation myth is about their creator being Fumeripitjs, who was lonely, so he carved figures from wood, and then he made a drum. When he played the drum, the carved wood figures came to life, and that is how the first Asmat people were created. For the Asmat, the connection between trees, people, and the forest is profound.

Provenance: Ex-Catholic Mission Merauke, South Coast, West Papua. The priests and brothers at the Catholic Mission in Merauke had carvings like this figure that were collected over 50 years of their colleagues working in many of the remote areas of the Asmat.

The Todd Barlin Collection of Oceanic Art (acquired from above 1985)

Many of the artworks that I have collected in the Asmat & Mimika are now in important Museum collections around the world, like the Musee du Quai Branly in Paris, France. When you walk into the Oceanic Art pavilion, the first thing you see are the monumental Ancestor Poles from the Asmat & Mimika Cultures, along with Shields & Dance Costumes, all of which I field collected. These artworks were in a superb exhibition in 1996, The Asmat et Mimika at the National Museum of African and Oceanic Art in Paris (now part of the Musee du Quai Branly) and published in the prestigious Louvre Museum Magazine the same year 1996.

See my new EXHIBITIONS GALLERY showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is a 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.

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 Lake Sentani Bowl New Guinea North West Papua Irian Jaya Indonesia

A Fine Old New Guinea Bowl Lake Sentani Area North West Papua Irian Jaya Indonesia

This fine old and well-used bowl is from the Lake Sentani Area on the NW Coast of West Papua, Irian Jaya, Indonesia. The bowl, carved from a single piece of hardwood in oval form, is slightly convex on the outside with a lug in the form of a bird or turtle head used for tying on the wall when not in use. The design on the outside is an elegantly carved chiefly design called fou.

This old bowl I field collected at the village of Bobrongko on Lake Sentani in 1985. In 1985 -1986, I spent several months visiting every village on Lake Sentani and other mainland villages close by. The people in the villages were always very kind, warm & generous during my visits, and to my great surprise & delight, people in the villages still had & used old wooden bowls. I bought many fine 19th-century – Early 20th-century bowls at this time, this being one of them.

Lake Sentani art is very unique on the Island of New Guinea; their art was calm & serene, and beautiful without the often-aggressive look common to the Sepik or Asmat areas. I saw similarities between the styles of Lake Sentani and the Massim Cultures of Milne Bay Province in Papua New Guinea.

Lake Sentani has had a very long history of trading with people from Southeast Asia who came looking for Bird of Paradise feathers. These trade links were so old that there were Dongson era bronze age artefacts in archaeological sites & still in use in villages like ancient glass ornaments, bangles & beads, & ancient bronze kettle drums, and ceramics.

In the months I spent staying in villages in Lake Sentani, I made collections of everyday objects like bowls, paddles, and utensils (some other Lake Sentani objects will be listed on my website). I still have a small collection of old Lake Sentani Plates that were gifted to my mother and came back to me after she passed away.

On a custom stand where it can be displayed on a table or shelf.

In Australia, at the National Gallery of Australia, we have one of the most significant Lake Sentani figures in their collection, a double ancestor figure that once belonged to the famous British American Artist Sir Jacob Epstein. This superb figure is always a great pleasure to look at.

Provenance: The Todd Barlin Collection of New Guinea Oceanic Art

Excellent References: Art of Northwest New Guinea by Suzanne Greub 1992

Ancestors of the Lake: Art of Lake Sentani & Humboldt Bay, New Guinea 199,1 Edited by Virginia-Lee Webb

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 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 & beautiful antiques and the finest masterpieces, please make an appointment with us to visit the gallery.

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A Fine Collection of Six Antique African Passport Masks West Africa

A Fine Collection of Antique African Passport Masks West Africa

Most Dan face masks genre, and those of the culturally related groups of Côte d’Ivoire and Liberia, are commonly executed in a miniature form, ranging in height between 6 and 20 centimetres.

Even the largest miniatures are too small to be worn in front of the face, and they rarely exhibit any means by which they may be attached to anything. The most common mask type represented in such a diminutive form is deangle (attractive mask with slit eyes, performs a feminine behaviour)

Miniature masks bear many names: the most common is ma go (small head), but depending on scholarship it has also be named gba po (thing which is fed), or nyonkula (substitute for the ancestors). Echoing the variety of names, they fulfill a variety of functions. Anyone who has a spiritual connection with a mask, or whose family owns an important mask, is entitled to commission a miniature. Rubbed with oil and food, they are wrapped up and kept on the owner’s body or among his possessions and function as portable and personal forms that share the power and protective force of the full-sized mask.

Miniature masks are carved to embody tutelary spirits and serve as testimony to the presence of the spirit associated with a large masquerade. When a mask-owner is travelling, the miniature mask serves as an important means of identification outside his immediate community. This role that may have given it the commonly applied name of “passport mask.”

Diviners can advise individuals to commission a miniature mask for preventative, protective, or curative purposes.

In addition to being the property of one single individual, in certain instances miniature masks may also play a communal role in secret societies. They are among the sacred objects displayed at men’s society meetings to protect the men collectively, and can be shown to new initiates. On these occasions they are interpreted to be representations of the benevolent spirits associated with the most important masquerades of the area. They are used as sacred objects for taking oaths and for swearing to tell the truth.

Whether personal or collective, miniature masks must be fed regularly to remain strong and able to help their owner. Food may be simply set before it, or the offering, such as rice or oil, may be rubbed or poured onto it. On special occasions a sacrificed chicken’s blood is spilled onto the mask. The range of offerings and use explain the variety observed in the miniature’s patinas.

Provenance: Many Old Collections from Europe & North America. The Todd Barlin Collection of African & Oceanic Art

Sources
Fischer, Eberhard and Himmelheber, Hans. The Arts of the Dan in West Africa. Zurich: Museum Rietberg, 1984
Grootaers, Jan-Lodewijk and Bortolot, Alexander, Eds. Visions from the Forests: The Art from Liberia and Sierra Leone. Exh. Cat. Minneapolis Institute of Arts. Seattle and London: The University of Washington Press, 2014
Johnson, Barbara C. Four Dan Sculptors: Continuity and Change. Exh. Cat. The Fine Arts Museums of San Francisco. M. H. de Young Memorial Museum. Chicago: University of Chicago Press, 1986
Vandenhoute, Pieter-Jan, 1938–1939 unpublished field notes, as cited by Claessens, Bruno in Refined Eye, Passionate Heart: African Art from the Leslie Sacks Collection. Amanda M. Maples Ed. Milano, Italy: Skira, [2013]

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 Aboriginal Bark Painting from Western Arnhem Land Northern Territory Australia

A Fine Old Aboriginal Bark Painting from the Oenpelli Area in Western Arnhem Land Northern Australia

The painting depicts Mimih Spirits Hunting, where they carry their spears, woomera (spear thrower), and Dilly Bags. The Mimih spirits live in the nooks and crannies of the rocky landscape, coming out at night. They are said to be so thin and frail that they can emerge from their hiding places only when there is no wind, otherwise, they would be blown away. The Mimih not only created these lively self-portraits, but also are the dreaming ancestors who taught people to paint, hunt, dance, and compose songs. They are like humans, but they live in a different dimension. They were depicted during the freshwater period. The Mimi are dangerous if approached the wrong way, may kick, knee, slap, smash with a racket-like object or sit on someone, which causes sometimes fatal injuries.

Also depicted is Wititj the python & Manmakkawarri (the salmon catfish) Catfish which is a good eating fish, it is found in the freshwater rivers, creeks, and waterholes of West Arnhem Land. There is a Catfish Dreaming site in Gunbalanya Wititj who appears in the sacred Wagilag Sisters’ Story. A simple version of the story goes like this. The Wagilag are two sisters who travelled from south Arnhem Land (the Roper River area), eventually reaching a sacred waterhole in which, unknown to them, the python Wititj lived. The foods the Wagilag sisters caught and collected, when placed on a fire, jumped up and disappeared into the waterhole. When one of the sisters gave birth to a baby, Wititj smelled the afterbirth blood. Disturbed by this and by all the creatures jumping into his waterhole, the monstrous python emerged and swallowed the two sisters and the child.

Cross-hatching on bark paintings called Raark is one of the most distinctive and beautiful features of Arnhem Land Bark Paintings closely-spaced fine lines are drawn in particular colours, intersecting each other. The chosen colours may be specific to a particular clan, and the effect is difficult to describe but produces a deep impression on the viewer. Traditionally, the most sacred designs drawn on bodies during ceremonies were drawn with a quality called “bir’yun”, which is loosely translated as scintillation (as in the twinkling of stars) but carries a connotation of sunlight reflected off the sparkling water.

Indigenous Artists from Arnhem Land in the Northern Territory use crushed earth ochre pigments to paint on sheets of eucalyptus bark, They paint beautiful spiritual images of deep cultural significance that show their spiritual connection with specific tracts of country

Arnhem Land Rock Art sites are some thousands of years old, where ancient rock shelters were painted and maintained over generations. Arnhem Land is world-renowned for its Rock Art.

The designs seen on Arnhem Land Bark Paintings are traditional designs that are owned by the artist, or his “skin”, or his clan, and cannot be painted by other artists. In many cases, these designs would traditionally be used to paint the body for ceremonies or rituals, and also to decorate logs used in ceremonies. Artists also would paint designs on the bark walls and roofs of their shelters where they stayed during seasonal food gathering.

Provenance: Painted at Gunbalanya (Oenpelli), Arnhem Land circa 1975. The Todd Barlin Collection of Oceanic and Australian Aboriginal

If you have any Bark Paintings, I am always interested in buying & I pay top prices for Bark Paintings that I like.

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

A Superb Old Bougainville Island Dance Club 19th Century New Guinea

Superb Old Tongan Islands Polynesian War Club 19th Century

A Superb Old Nagaland Warrior Figure off a Morung Ceremonial House, Lainong Naga People Burma 19th-early 20th Century

A Fine Old New Guinea Imunu Spirit Figure Papuan Gulf Area Papua New Guinea

A Superb Old New Guinea Basket Hook Figure Middle Sepik River Area East Sepik Province Papua New Guinea

Superb New Guinea Massim Lime Spatula Milne Bay Province Papua New Guinea 19th Century

A Fine Old Asmat Figure Group Asmat People West Papua Irian Jaya Indonesia New Guinea

A Fine Old Lake Sentani Bowl New Guinea North West Papua Irian Jaya Indonesia

A Fine Collection of Six Antique African Passport Masks West Africa

A Fine Old Aboriginal Bark Painting from Western Arnhem Land Northern Territory Australia

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