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Art For Sale

A Superb Old New Guinea War Shield Asmat People West Papua Irian Jaya Indonesia

A Superb Old New Guinea War Shield Asmat People West Papua Irian Jaya Indonesia

This fine old and well-used shield was collected at Pupis Village on the Wasar River area of the remote Northwest Asmat on the South Coast of West Papua (Irian Jaya) Indonesia.  This shield I field was collected in 1985.  The carver of this shield  had been deceased for a decade according to the Catholic Priest in Sawa Erma which is downstream from Pupis. The carver was the last great master carver or Wow Ipitsj in the area and I have two shields carved by him.  The shield would date from the 1940s-1950s

Asmat Shields were important objects that venerated their ancestors, each shield had a personal name and when invoked during warfare the enemy was said to be frightened or stunned and easy to kill.

I spent a lot of time in the Asmat region in the early 1980s and old and used Shields of this quality in the Coastal and Northwest Asmat Areas were rare. Many of the artworks I field collected then 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 at The Musee du Quai Branly the first thing you see is the monumental ancestor poles from the Asmat & Mimika along with Dance Costumes Shields and large Soul Canoe, all of these were field collected by me. Originally they were in an exhibition ” 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 see the link below and a photo of the exhibition above.

Provenance: Exhibited & Published in Oceanic Arts Pacifica: Artworks from The Todd Barlin Collection at the Casula Powerhouse Arts Centre Sydney 2016. Published in the exhibition catalog page 63

I have been collecting New Guinea Shields since 1983 when I bought my very shield, over the next 35 years I bought the very best New Guinea Shields that I could for my own personal collection; The Todd Barlin Collection of Oceanic Shields.

References:

Shields of Melanesia ” 2005 Edited by Harry Beran & Barry Craig

This whole book mainly on New Guinea Shields is one of the best references ever published.

I helped write three chapters in the most important book on New Guinea Shields, ” Shields of Melanesia ” 2005  edited by Harry Beran and Barry Craig.  These were the chapters I wrote for this important reference book including a Chapter on the Asmat & South Coast of West Papua Irian Jaya Indonesia. 

3.1 Shields from the North Coast of Western New Guinea: Pages 28- 32 : West Papua Irian Jaya Indonesia

5.1 The Shields of the Highlands of Western New Guinea : Pages 112- 1117  :  Yali Shields Central Highlands West Papua Irian Jaya Indonesia

6.1 Shields from the Southern Lowlands of Western New Guinea: Pages 155-165 : Four areas of  The Asmat People and Digul River areas.

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.

Three Fine Old New Guinea Woven Baba Masks Abelam People East Sepik River Province Papua New Guinea

These Fine Old New Guinea Woven Baba Tagwa Masks are from the Abelam People in the East Sepik River Province of Papua New Guinea

These very fine old Masks each have a great shape, making their faces very expressive; the masks themselves are impressive works of sculpture but to the Abelam, their power lies in the bright polychrome ochre paint applied to their surfaces the Abelam, the paint is a magical substance that endows the figures with supernatural power and beauty.

The Abelam woven basketry masks are made from a type of wild Lygodium vine fibre, the older masks like this example are finer & more tightly woven. The ochre painting is renewed each time the masks are used so they build up a layered smoky patina from long use and storage.

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 seen here, known in the Abelam language as baba tagwa, which is worn over the head like a helmet, as well as the better-known woven Yam Masks used to decorate the gigantic long ceremonial 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

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 and ancestor figures.

Provenance: The Todd Batlin Collection of Oceanic Art

Exhibited & Published in Oceanic Arts Pacifica: Artworks from The Todd Barlin Collection at the Casula Powerhouse Arts Centre Sydney 2016. Published in the exhibition catalogue on page 58:

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 Woven Baba Mask Abelam People East Sepik River Province Papua New Guinea

This Superb Old New Guinea Woven Mask called baba tagwa is from the Abelam people in the Prince Alexander Mountains Area in the East Sepik Province of Papua New Guinea.

This very fine old example has a great shape, making the face very expressive with the large eyes, small mouth, and feather headdress. The masks are impressive works of sculpture but to the Abelam, their power lies in the bright polychrome ochre paint applied to their surfaces, for the Abelam, paint is a magical substance that endows the figures with supernatural power and beauty.

The Abelam woven basketry masks are made from a type of wild Lygodium vine fibre, the older masks like this example are finer & more tightly woven and you can clearly see that from underneath the mask, the ochre painting is renewed each time the masks are used so they build up a layered smoky patina from and long use and storage.

The Abelam and neighboring peoples of the Prince Alexander Mountains in the Sepik region of northeast New Guinea create several types of basketry masks, they include the type seen here, known in the Abelam language as baba tagwa, which is worn over the head like a helmet, as well as the better-known woven Yam Masks used to decorate the gigantic long ceremonial 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

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 and ancestor figures.

Provenance:  The Elizabeth Pryce Collection Sydney

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 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 Gourd Mask Eastern Highlands Province Papua New Guinea

A Fine Old New Guinea Gourd Mask Eastern Highlands Province Papua New Guinea

This beautiful bright yellow Gourd Mask is from the Eastern Highlands of Papua New Guinea, Gourd Masks like this example were used in traditional ceremonies and they were repainted for each time they were danced.  In some cases, gourd masks replaced old masks made from their ancestor’s skulls.  This Mask I bought in Goroka in 1986 and it has been a favourite of mine for 35 years.

Provenance: The Todd Barlin Collection of New Guinea Oceanic Art 

Exhibited & Published in Oceanic Arts Pacifica: Artworks from The Todd Barlin Collection at the Casula Powerhouse Arts Centre Sydney 2016. 

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 Old New Guinea Moka Kina Western Highlands Province Papua New Guinea

A Fine Old New Guinea Moka Kina Wealth Plaque Western Highlands Papua New Guinea

This superb Moka Kina Wealth Plaque is from the Melpa People in the Mount Hagen area of the Western Highlands Province of Papua New Guinea.

This beautiful old Shell Pectoral Ornament is called Moka Kina , the shell is made from the Gold Lip Pearl Shell or Pinctada Maximums and is covered in red ochre and set into a plaque of hard tree resin and then given a decorated woven band for wearing over the chest.

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 kilometers through some of the most rugged terrain on the planet.  These were used as a traditional currency during a traditional ceremony where Moka Kina and pigs were exchanged

The moka is an exchange system where it is a system of reciprocal exchange in which the donor gives shells and pigs as outright gifts and later is he is obligated to give a larger amount back to the original donor.

The return payment is not made at the same time. Each recipient of shells and or pigs make a note of the debt he owes so that he can make the appropriate return payment later. The exchange of wealth means friendship, and friendship means alliances. Moka is made between clans, the purpose of which is to cement alliances. Clans will not support clans with which they do not do moka. Therefore moka is not done indiscriminately. Those doing moka will ensure that the clans they are dealing with will be their allies forever. A clan needs a number of other clans it can rely on in times of war for survival. Clan warfare has been and still is endemic throughout the highlands of Papua New Guinea. The moka still has a role to play in the lives of the Melpa as a means of exchanging wealth to maintain social relationships,  After receiving the pearl shells in a moka, the owner may do what he likes with them. He does not have to give them away immediately in exchange, but he must at some time in the future repay his debts with the correct number of pearl shells. Therefore he cannot disburse them indiscriminately. He can use them to pay bride’s wealth, buy pigs or buy land.

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

Exhibited and Published :  Adorned: Traditional Body Decorations from Australia & the Pacific 1999 at The Macleay Museum at The University of Sydney Page 29

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 Old New Guinea Massim Shell Money Necklace Milne Bay Province Papua New Guinea

A Fine Old New Guinea Massim Shell Money & Boars Tusk Necklace From the Milne Bay Province in Papua New Guinea

This beautiful old Necklace is from the Massim Culture in The Milne Bay Province of Papua New Guinea.  The necklace is made of large pink shell money discs with an old Boars Tusk as the centerpiece. The back of the necklace has a white egg cowrie shell and two pearl shell dangles. It is a Kula Ornament

Personal Ornaments in New Guinea and the Pacific Islands are some of the most beautiful objects made by the indigenous people of the Pacific Islands.  Ornaments made from shells or animal teeth are not only decorations to wear but they are part of the traditional wealth and currency used by native people.  They are used to pay for bridal dowries by a young mans family or as compensation for different types of disputes like over land for gardens or used in traditional ceremonies where giving wealth to others creates future obligations or debts.

Kula valuables are traded purely for the purpose of enhancing one’s social status and prestige. Carefully prescribed customs and traditions surround the ceremonies that accompany the exchanges which establish strong, ideally lifelong relationships between the exchange parties (karayta’u, “partners”). The act of giving is a display of the greatness of the giver, accompanied by shows of exaggerated modesty in which the value of what is given is actively played down. Such a partnership involves strong mutual obligations such as hospitality, protection and assistance.  Kula valuables never remain for long in the hands of the recipients; rather, they must be passed on to other partners within a certain amount of time, thus constantly circling around the ring. However, even temporary possession brings prestige and status. Important chiefs can have hundreds of partners while less significant participants may only have fewer than a dozen.

Provenance: the late David Baker (1943-2009 ) 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

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 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 Fine Old New Guinea Drum Middle Sepik River Papua New Guinea

A Fine Old Drum Middle Sepik River Papua New Guinea

This beautiful old Drum is from the Iatmul People in the Middle Sepik area of the East Sepik Province of Papua New Guinea.  This hourglass-shaped drum is often referred to as a Kundu which is the Papua New Guinea pidgin English term for this type of drum.  Old drums like this fine example were family heirlooms often used over several generations of a family.  The whole drum is finely incised with ancestors’ faces in high relief along with clan designs that were later highlighted with ochre . The lug handle and whole drum have an old deep patina from use and storage in the men’s ceremonial house.  The use of drums is very important to all traditional ceremonies where drumming and singing relate stories of ancient ancestral beings who are invoked for protection & fertility.

Provenance: Collected in 1965-1966  by the Geologist Peter Austin. Much of Austin’s collection was sold to the Royal Ontario Museum in Toronto and published in a 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 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 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 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 Stone Wealth Axe Massim Culture Milne Bay Province Papua New Guinea

A Superb Old New Guinea Stone Wealth Axe Massim Culture Milne Bay Province Papua New Guinea

This fine old and used ceremonially Wealth Axe is from the Massim Culture in the Milne Bay Province of Papua New Guinea. This beautiful old Presentation or Wealth Axe was made solely to show off the Stone Axe Head which is a type of important traditional wealth.

This Wealth Axe was used in the complex Kula trading circle that built lifetime trading partners & commitments between a large group of small islands in the Milne Bay Province.

Carved from a single piece of hardwood in an elegant form, the handle has a round butt with pierced holes and the rounded finial at the top is finely incised with birds designs, the stone is secured with bush fibre rope and the whole object is in good original condition with an old crusty brown patina.  The Wealth Axe dates from the late 19th to early 20th Century though the stone might be much older.

Kula valuables are traded purely for the purpose of enhancing one’s social status and prestige. Carefully prescribed customs and traditions surround the ceremonies that accompany the exchanges which establish strong, ideally lifelong relationships between the exchange parties (karayta’u, “partners”). The act of giving is a display of the greatness of the giver, accompanied by shows of exaggerated modesty in which the value of what is given is actively played down. Such a partnership involves strong mutual obligations such as hospitality, protection and assistance.  Kula valuables never remain for long in the hands of the recipients; rather, they must be passed on to other partners within a certain amount of time, thus constantly circling around the ring. However, even temporary possession brings prestige and status. Important chiefs can have hundreds of partners while less significant participants may only have fewer than a dozen.

Provenance:  Ex John Friede Collection New York. His collection is known as the JOLIKA Collection most of which is now in the collection of The De Young Fine Art Museum in San Francisco.

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 Vanuatu Old Food Platter Santo Island Vanuatu

A Fine Vanuatu Old Food Platter Santo Island Vanuatu

This beautiful old food platter from Vanuatu was used during ceremonial occasions to share food between families and clans. I am guessing it is from Espiritu Santo Island in Samna Province in Northern Vanuatu. (if I am wrong on this can you please let me know what Island in Vanuatu it is from ? )

Carved from a single piece of hardwood the bowl or platter is in an oval form with a forked finial, the bottom of the platter has two legs that run horizontally across the bowl. During special ceremonies, the shallow bowl was used to prepare and serve a traditional food called Nalot a pudding made from Yam, Taro & breadfruit, and other ingredients.  I had this on a few occasions while in Vanuatu and it was very delicious.

Many of Vanuatu cultures have complex men’s secret societies, which involve a series of ritual “grades” through which individuals pass, by means of initiation rites, festivals, and pig sacrifices, in order to achieve increasing religious and social status. Special ritual objects were made & used for these secret men’s societies.

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 Vanuatu Oceanic Art 

I made several trips to Vanuatu in the 1980’s visiting Pentecost Island, Malekula Island, Vao & Actin Islands and Ambrym, everywhere I went people were so friendly warm kind and hospitable when staying with families. Above are a couple of field photos from those visits.

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 Old Polynesian Headrest or Neckrest from Tonga Islands 19th Century

A Fine Old Polynesian Headrest or Neckrest is from Tonga Islands dating from the late 19th Century

This elegant form Headrest or Neckrest is from the Tonga Islands which is a group of Islands that is part of Polynesia in the Southern Pacific Ocean.  This type of Headrest is traditionally called “kali hahapo”, they are carved from a single piece of hardwood. This old and well used Headrest dates from the late 19th Century

Headrests that were used by people of chiefly descent were tapu or sacred because the head is considered sacred and should not be touched.  Headrests were also used to help keep a man’s elaborate hairstyle from being disturbed while sleeping.

The headrest is imbued with an especially significant spirituality because of its association with the mystical aura of sleep. Sleep was recognized as the most intimate relationship with the spirit realm, therefore the decoration on headrests was especially intertwined with their spiritual beliefs, and the human head is associated with concepts of power, therefore anything that was created to support this power was subsequently revered.

These beautiful form headrests are highly regarded by collectors for their elegant shape

Headrests like this one are prominent across diverse cultures and eras. From the dark vaults of Ancient Egyptian tombs to the banks of the Sepik River, headrests were utilized to support sleepers lying on their sides and preserve intricate hairstyles during the night. Many people from ancient civilizations slept on mats, therefore headrests were emblematic status symbols and were generally reserved for prominent figures in such cultures. Though they might look uncomfortable in comparison with our Western accommodations, their structure actually supports proper spine alignment.

Provenance: The Nicolai Michoutouckine Collection (1929-2010) Nicolai was an artist of international repute, Russian-born, and French he lived in Vanuatu for most of his life. A keen collector and promoter of Pacific arts for many decades, his collection was exhibited in a traveling exhibition that went around the world. He and his lifetime partner Aloi were also my good friends

Exhibited:  Art of the Pacific: The Nicolai Michoutouckine Collection:  in Russia, Sweden Japan Australia

The Todd Barlin Collection of Polynesian 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.

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64 Elizabeth Street, Paddington NSW 2021 Sydney Australia

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