Art For Sale Archive - Page 8 of 51 - Oceanic Arts Australia

A Superb Old New Guinea Neckrest Abelam People East Sepik Province Papua New Guinea

A Superb Old New Guinea Neckrest from the Abelam People East Sepik Province of Papua New Guinea

This superb old Neckrest is finely carved in the form of back-to-back male & female Ancestor Spirit Figures. The neck support becomes the body of a totemic wild Boar whose head you see at the top left, the Boars legs transform into the Ancestor figure’s arms that show not only the great imagination of the artist but also the connection between the Ancestor Figure & the wild boar a fierce powerful totemic animal that is admired for its strength. Abelam Neckrests are rare, I have only seen a few in my 40 years of collecting

This old Neckrest base is not flat at all as people slept on uneven sometimes dirt or sand floors covered by a woven mat. This Neckrest would not stand up without the stand, it’s a sign of its age and the whole piece has a dark brown patina from long use & handling. It was owned by more than one generation and kept as a family heirloom.

Some Neckrests, used by elders, served as marks of secular and religious authority, they are often adorned with images of spirits, ancestors, or other supernatural beings, and some also had magical properties.

Sepik spirituality was highly individualized, with each kinship group within a village taking an emblematic name, or totem, from the birds and animals of the Sepik River region, a totem serves as the group’s symbol and signifies their ancestral heritage — though they all recognized a common ancestry with the crocodile. Elders who have memorized the copious totemic emblems hold great prestige and power within the village. Representations of the animal totems such as the Boar on this headrest are important in honoring and nurturing relationships with the ancestors.

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. Furthermore, the human head is associated with concepts of power, therefore anything that was created to support this power was subsequently revered.

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 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 neighbors.

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If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

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

For all inquiries, please contact us

A Fine Old New Guinea Dance Staff Lake Sentani Area NW Coast West Papua Irian Jaya

A Fine Old New Guinea Dance Staff Lake Sentani Area NW Coast West Papua Irian Jaya

This beautiful old Lake Sentani Net Dance Staff was one of the first artworks that I collected on Lake Sentani 38 years ago when I spent months in the area. The second photo above is of the Ondafi or Chief’s son holding the Dance Staff in 1985

This beautifully carved Dance Staff with the finial carved in the form of a chiefly Ancestor who is holding a drum in his hands & has a tobacco pipe in his mouth. This is likely an actual portrait of the Chief or Ondafi of Bobrongko Village on Lake Sentani where I collected it in 1985 the carver was deceased as was the chief it portrayed.

Below the figure are three wide bands of finely incised scrolling designs called fou which is a chiefly design used solely on artworks made for the chiefly families or Ondafi.

Dance Staff were used during important ceremonies where the chief carried the staff as a sign of his authority in the village & surrounding area. It was also used during chiefly oration where the staff was used to emphasize his words.

Provenance: 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 Superb Old New Guinea Club Angu People Merawaka Area Eastern Highlands Papua New Guinea

A Superb Old New Guinea Club Angu People from the Merawaka Area Eastern Highlands Papua New Guinea Dating from the late 19th Century

This rare & beautiful old Club is from the Angu People who are also known as the Kukukuku who live in the remote Eastern Highlands Provenance of Papua New Guinea. The Angu like many mountain people are of small stature but they had a reputation as some of the fiercest warriors in all of New Guinea. They wore long bark cloth cloaks that often their clubs were hidden underneath

This elegant form of Club looks like a bird in profile, it is a beautiful sculpture when standing up in the custom stand. The club was used for close warfare to get around the side of the opponent’s shield. There are traces of ochre decorations on the head of the club & the whole club has a dark warm patina from long use over generations. Clubs & Shields were family heirlooms and each carried the history of the battles fought with the club & the family members that used them. I had the chance to stay with Angu People in this area on several trips to the Eastern Highlands Province from 1985-1986. I took the two photos of the Anga Warrior with his Shield & Club in Goroka in 1986. I have two superb old Anga Shields also listed on my website

Provenance: Old Collection Australia and 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 Superb Old New Guinea Betel Nut Mortar Coastal Sepik River Area East Sepik Province Papua New Guinea 19th C

A Superb Old New Guinea Betel Nut Mortar Coastal Sepik River Area East Sepik Province Papua New Guinea. Dating from the 19th Century

This very beautiful old Betel Nut Mortar is finely carved in the form of two Birdman Ancestor Spirit Figures Heads back-to-back, there are also deep incised clan designs and a dark encrusted patina from long use & handling.

Some betel nut mortars, carried by male elders, served as marks of secular and religious authority, they are often adorned with images of spirits, ancestors, or other supernatural beings, and some also had magical properties.

Betel Mortars were used by old men & women whose teeth were no longer strong enough to chew the betel nuts so they were cut up & put in this type of mortar and crushed into a paste so it’s easy to ingest when you don’t have teeth. When chewing, the individual periodically places the nut and a small quantity of lime in the mortar and crushes it with a pestle to release the active ingredients before placing it back in the mouth.

Betel Nut is the fruit of the areca palm (Areca catechu), which grows in much of the tropical Pacific (Melanesia and Micronesia), South Asia, and Southeast Asia. Chewing Betel nut is a mild stimulant such as coffee & people use it throughout their lifetime.

People in the Sepik River & much of New Guinea chew betel daily. Betel is chewed with lime made from burnt and crushed seashells and mustard leaves (Piper sp) they are mixed together in the mortar and then into the mouth and that produces a mild stimulant.

The utensils made for chewing betel nut are some of the most beautiful smaller-scale sculptures made in New Guinea. Like this old example, they were often owned and used by elderly people who still enjoy the Betel Nut but no longer have teeth to chew it. They can be family heirlooms passed down generations.

Chewing betel is a special occasion ritual that occurs at weddings, funerals, births, and settlements of disputes; it is present in less formal situations such as a welcoming offer to guests; and on a daily basis as it is habit forming. Beautifully decorated mortars used to crush the nut are found throughout New Guinea. Some are traded widely and some are presented as bride price.

Provenance: The John Friede Collection Rye New York and The Todd Barlin Collection of New Guinea Oceanic Art

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If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

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

For all inquiries, please contact us

An Original Pair of Fine Old New Guinea Male & Female Brag Masks Coastal Sepik Area East Sepik Province in Papua New Guinea

A Pair of Fine Old New Guinea Brag Masks Coastal Sepik Area East Sepik Province in Papua New Guinea

Powerful Brag Masks like these fine examples were only danced on rare occasions, including the initiation of young males and at times of scarce food and other village hardships.

This is a true matched pair of male and female masks that were danced together. They were owned by a clan and each Brag Mask had a known personal name and was danced by an initiated male who was completely concealed in a plant fibre costume covering the whole body of the dancer. The dancer becomes the powerful Brag spirit for the time it is being danced.

These Masks are finely carved with intricate clan designs with layers of ochre & some trade paint which shows their importance.

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

Provenance: The Todd Barlin Collection of New Guinea Oceanic Art

See all of the links & photos in my new EXHIBITIONS GALLERY showing the Museums & Art Gallery Exhibitions that I provided artworks for over the past 40 years. There is the link to the article about my artworks published in the prestigious Louvre Magazine 1996

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 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 u

A Superb Old Micronesian Woven Basketry Fish Trap Yap Island Micronesia

A Superb Old Micronesian Woven Basketry Fish Trap Yap Island Micronesia

This beautiful old Fish Trap constructed from bamboo and coconut fibre coir rope was made with great skill like a complex architectural model based on mathematical engineering.

The Federated States of Micronesia is comprised of four states, Chuuk, Kosrae, Pohnpei, and Yap. Each state has its own unique traditional fishing practices. Across these islands, many different forms of traditional fishing knowledge were shared and fishermen ventured into the waters, relying on their ancestral knowledge to catch a diverse array of marine life.

The fishing basket trap is an apparatus used to trap fish with a funnel-like entrance that allows fish easy passage to get inside but difficult to get out. It is usually made from bamboo and other materials like rattan, the fishing basket trap is an ancient way to catch fish probably used by human beings for many thousands of years. People around the world have the custom of using fishing basket traps that come in various shapes & technology specific to the type of fish being sought.

When fishing in a lagoon with calm water, you can sink the fishing basket trap with a float connected to show the location. The back part of the basket is always an enclosure where a piece of bait is provided. Catching fish with a fishing basket trap is a sustainable way to food resources. It was a reliable method to get food for humans for thousands of years. The techniques of weaving and making use of the fishing basket were indispensable knowledge for the people of that time. This sustainable practice not only maintains local livelihoods but also preserves the fragile marine ecosystems that are vital to the nation’s well-being.

The Pacific Ocean plays a central role in the lives of Micronesians, not only is it used for fishing, inter-island travel, and, formerly, warfare, but it also serves as a conduit for trade networks and political alliances. Micronesian artworks directly associated with the ocean include Basketry Fish Traps like this example and the important Stick Navigation Charts and Weather Charms from Yap Island both of which were associated with long ocean voyages.

Yalulawei, benevolent water spirits were summoned by the navigator or fisherman through chanting to ensure a smooth and safe voyage during fishing.

If you are interested in antique Micronesian Art I have some very beautiful old artworks for museums or collectors , see the other Micronesian artworks on my website

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

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If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

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

For all inquiries, please contact u

A Superb Old New Guinea Dance Staff from Vitu Island in the Bismarck Sea off Northern New Britain Island Papua New Guinea

A Superb Old New Guinea Dance Staff from Vitu Island in the Bismarck Sea off Northern New Britain Island Papua New Guinea

Many of the traditional Dance Ceremonies performed in New Britain & the surrounding Islands such Witu/ Vitu, the dancers often held Dance Wands or Dance Clubs during their performance.

Masked dancers representing powerful ancestral spirits or spirits from the bush or ocean also often held Dance Wands or Dance Staffs, this beautiful old example must have been used in this manner. The refined carving of an Ancestral Face at the top followed by an animated totemic snakes down most of the length of the club. It has beautiful colours; blue from Rickets Soap Cake, with white & traces of red & the whole club has an old dry patina from long use & handling.

In New Britain Island which is culturally & artistically linked to the Witu Islands, the Tolai People, Sulka People, Nakanai People, and Baining People to name a few all used Dance Wands in their Dance Performances with Masked Dancers

Long ago I owned another Witu Island Dance Wand which had a three-dimensional head in the form of the well-known Witu Helmet Masks, this was collected in the 1960s but the example here is older.

Provenance: The Todd Barlin Collection of New Guinea Oceanic Art

Please have a look at my EXHIBITIONS Gallery https://www.oceanicartsaustralia.com/about/exhibition-and-publications/ which shows many of the exhibitions & public Museums & Art Galleries I have worked with in the past.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and 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.

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 Waskuk Nogwi Figure Kwoma People Upper Sepik River Papua New Guinea

A Superb Old New Guinea Waskuk Nogwi Figure from the Kwoma People on the Upper Sepik River Area in the East Sepik Province of Papua New Guinea

Nogkwi is one of three distinct ceremonies held annually in the villages of the Kwoma, Nukuma, and Mayo speakers of the Upper Sepik River, in a region generally referred to as the Waskuk. These ceremonies are associated with the harvesting of yams. There are two other Yam Harvest Ceremonies that are associated with a distinctive form of sculpture, Yina & Minja,

Nogwi was the last and most secret Yam Harvest Ceremony, confined to the most powerful, senior men in society who were both homicides and the fathers of many children.

Douglas Newton in his book: Crocodile and Cassowary – Religious Art of the Upper Sepik River, New Guinea”. The Museum of Primitive Art, New York, 1971, p. 88)

Newton recorded: “The Honggwa m ma had several supplementary musical performances for the Nogwi, these were duets played on two sacred flutes the rhythms on this occasion representing the calls of Cassowary birds and the blowing of a Conch Shell Trumpet & a wood carved side-blown trumpet, these sounds were the signal to start the work of building of a high fence around the ceremonial house by the young men and after they were sent away.

The Nogwidji or senior men dug a trench along one side of the ceremonial house and the young men then filled the trench with water. A large platform was built over the trench with an aperture above it for a Water Drum. Around the edge of the platform were fixed horizontally with skulls of important ancestors with decorations of shell ornaments trailing to the ground.

The Nogwi carvings were then brought into the house; they were two almost life-size figures of mythical women named Hameiyau and Sanggriayau. The Nogwidji went about the village, from which the women had run away in fear of the figures, smashing the pots belonging to the people of their respective clans–the destruction was later attributed to the female spirits.” At night the men played the Water Drum. At dawn, the men went into the bush and played the four special instruments. The men then shouted, “Hameiyau and Sanggriayau are escaping catch them catch them “.

The old Nogwi & other Ceremonial Figures are hidden in garden huts, away from the village when not in use, as they have acquired power over time and through use. New carvings are required from time to time; power is not inherent, but develops in the process of carving and painting as their power lies in the bright polychrome ochre paint applied to their surfaces, for the Kwoma the paint is a magical substance that endows the figures with supernatural power and beauty.

The ceremony takes place inside the men’s Ceremonial house (korob) A platform is built, and while one major Nogwi figure is displayed as a focus, many lesser Nogkwi & other associated figures and pottery heads may be used. The Nogkwi are tied to poles on the ceremonial platform and further decorated with shell wealth items, a ‘beard’ made of feather down, pig’s tusks, and sometimes a headdress. Slit gong drums are played and songs of myth relating to the yam harvest are sung. At the finish of the ceremony, the Nogkwi is stripped of its decorations, wrapped tightly in sheaths from the black palm, and returned to the garden hut.

Kwoma has a traditionally oriented ritual and aesthetic life. They believe in a complex pantheon of spirits. These fall into two categories: “bush” or “water” spirits occupying streams, boulders, or other natural features, collectively termed (in pidgin) masalai; and clan spirits depicted by ceremonial carvings.

Like other Sepik peoples they are famous for their art, principally wood carvings and paintings on bark. The bulk of plastic art decorates ceremonial buildings. The ceilings of these structures are lined with hundreds of paintings of totemic species, and the posts and beams are lavishly carved with sculptures depicting mythological personages and spirits. Kwoma men’s houses are among the greatest of all artwork in the Pacific region “.

This very beautiful old Kwoma sculpture has been one of my favourite Oceanic Artworks that I have ever owned, it has a soft gentle surreal feel where often Middle Sepik artworks can seem aggressive, Waskuk/ Kwoma Art in my opinion is one of the great art styles of Papua New Guinea.

Provenance: Collected by William Barclay in New Guinea 1967 & The Todd Barlin Collection of New Guinea Oceanic Art

Exhibited Oceanic Arts Pacifica: Oceanic Art from the Todd Barlin Collection at Casula Powerhouse Arts Centre 2014

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If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer

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

For all inquiries, please contact us

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

A Superb Old New Guinea War Shield from the Asmat People on the South Coast of West Papua Irian Jaya Indonesia

This fine old and well-used shield was collected at Weo Village on the Wasar River area of the remote Northwest Asmat on the South Coast of West Papua (Irian Jaya) Indonesia.

The carver of this shield had been deceased for a decade according to the Catholic Priest in Sawa Erma in 1985. The carver was the last great master carver of this very old style of Shield, The shield would date from the 1940s-1950s. There is one similar shield in the Asmat Museum at the Crosier Mission in Agats Asmat that was collected by my friend Tobias Schneebaum in the 1970s.

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. The main Asmat creation myth is about the creator 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 and people and the forest is profound.

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 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: The Todd Barlin Collection of New Guinea Oceanic Shields.

I have been collecting New Guinea Shields since 1983 when I bought my very first shield, over the next 35 years I bought the very best New Guinea Shields that I could for my collection;

References: The 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 owned 28 of the Shields in this book

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.

See my new exhibition 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

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 Asmat Ancestor Figure West Papua Irian Jaya Indonesia

This Superb Old New Guinea Ancestor Figure is from the Asmat People on the South Coast of West Papua Irian Jaya Indonesia

This finely carved figural group of three stacked ancestors is done in the style of the most well-known of Asmat artworks called MBis Ancestor Poles, this well might be a section of a large six-meter-tall Bis Pole Sculpture that was damaged and carved to save this section. Likely carved in the 1960s, it shows the great artistic skills of Asmat Master Cavers or Wow Ipits in the Asmat Language.

The main Asmat creation myth is about the creator Fumeripitjs who was lonely so he carved figures from wood and then 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, it explains the deep bond between the Asmat people and trees & the forest.

The Asmat & their art are well-known partially because Michael Rockefeller Jnr went missing in the Asmat Area on November 17, 1961, he was collecting Asmat Artworks for the then Museum of Primitive Art in New York, now part of the Metropolitan Museum of Art where his collection is still beautifully displayed in the Michal Rockefeller Wing of African, Oceanic Arts one of the great Museums in the world

I spent a lot of time in the Asmat region in the early 1980s and Ancestor Figures of this quality in the Coastal and Northwest Asmat Areas were rare.

Many of the artworks I 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 which 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 which you can see & read in my EXHIBITIONS GALLERY link below

Look here at my new EXHIBITIONS Gallery. to see the many places in the world where my artworks have been shown over the past 40 years

Provenance: Professor Jim Peterson (1939-2012) Canberra. Jim accompanied Robert Mitton to Irian Jaya in 1973 to further the geographic knowledge of this little-known part of the Island of New Guinea. I am pretty certain that this Ancestor figure was collected by Bob Mitton & given as a gift to Jim Peterson as it seems Dr Peterson did not go to the South Coast area where the Asmat are. Travel in West Papua at this time was highly restricted by the Indonesian Government, The Robert Mitton Collection of Asmat & West Papuan Art is at the University of Sydney Chau Chak Wing Museum

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.

Archives: Art For Sale

A Superb Old New Guinea Neckrest Abelam People East Sepik Province Papua New Guinea

A Fine Old New Guinea Dance Staff Lake Sentani Area NW Coast West Papua Irian Jaya

A Superb Old New Guinea Club Angu People Merawaka Area Eastern Highlands Papua New Guinea

A Superb Old New Guinea Betel Nut Mortar Coastal Sepik River Area East Sepik Province Papua New Guinea 19th C

An Original Pair of Fine Old New Guinea Male & Female Brag Masks Coastal Sepik Area East Sepik Province in Papua New Guinea

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A Superb Old Micronesian Woven Basketry Fish Trap Yap Island Micronesia

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A Superb Old New Guinea Dance Staff from Vitu Island in the Bismarck Sea off Northern New Britain Island Papua New Guinea

A Superb Old New Guinea Waskuk Nogwi Figure Kwoma People Upper Sepik River Papua New Guinea

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

A Superb Old New Guinea Asmat Ancestor Figure West Papua Irian Jaya Indonesia

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