Metro Retro Furniture MCM Furniture Tribal Art

Rare to find raincoat made of braided palm leaves. Of pre-Hispanic origin, it is a woven garment that protects against the rain. Also known as Capisayo in or Capote in other parts of...

African Tribal Art parchment wall shade sconce featuring a large triangle hide form stitched on iron and hand painted surface. These art pieces could be used as wall lamp shade. Ir...

Early to mid-20th century woven fiber and palm leaf conical hat with two vertical painted stripes on the front, from Mornigton Island, Queensland, Austral...

Very beautiful mask with large pronounced eyes with the circular cavity shape. The mask depicts a nocturnal bird that can see in the darkness and manifest the presence of divinities ...

Kenyan Massai tribe hand painted hide shield circa 1920.  Not to be confused with modern reproductions. Beautiful decorative piece from Kenya, likely to be from the Massai or Kikuya...

Antique Indian Embroidered Kantha Cloth Indian kantha cloths originally developed as a way in which old sari cloth could be recycled and put to use. They’re usually composed of 3-4 ...

This graphic Songye Kifwebe mask has fine carved lines curved over the eyes and diagonal lines radiating from the nose and mouth in classic Kifwebe form. ...

An antique carved hardwood statue depicting a goddes with child on her arm The statue has a very rich aged using patina and traces This statue is dating from the 18th century but pro...

Purchased from the estate of Max Granick. Granick had a frame shop on 56st and in addition to being one of the great framers of midcentury NY was a partner with John Graham offering ...

Large Tibetan storage chest with traditional hand painted Dragons Tibet Wood, Iron, Paint 19th century. 27 x 59.5 x 22.5 in./ 69 x 151 x 57 Height on custom display St...

Vintage Wooden Totem Kwakiutl Eagle Cedar Wood. Early 20th Century hand carved cedar wood totem of a Kwakiutl eagle. It is created by a Native artist ...

A contemporary painting by Australian Aboriginal artist Ronnie Tjampitjinpa (1943-2023). Entitled "Rain Dreaming", the artwork was acrylic on canvas and painted in 1999 Fully documented: originally purchased in 1999 from Kimberley Australian Aboriginal Art, Melbourne, cat. no. KA 708/99; The in the collection of The Kelton Foundation, Santa Monica; It was exhibited in: "G'Day LA" Australia Week, in partnership with the Australian Consulate Los Angeles, Pacific Design Center, West Hollywood, CA, 15-25 January 2004. It is housed in a black thin wood frame. Ronnie Tjampitjinpa was born in Pintupi land at Muyinnga, about 100 kilometres west of the Kintore Range, just across the Western Australian border. He is the son of Uta Uta Tjangala’s older brother, Minpuru Tjangala (c.1899–1976). Artist's Biography (Courtesy of Art Gallery NSW) After his initiation into Pintupi law at the site of Yumari, Tjampitjinpa and his younger brother Smithy Zimran Tjampitjinpa walked into the Aboriginal community of Yuendumu. They later joined their parents and other siblings – who had come in to Ikuntji (Haasts Bluff) in 1956 from the Dover Hills/Yumari area – at the new settlement of Papunya. Tjampitjinpa worked as a labourer, assisting with the fencing of the aerodromes at Papunya and Ikuntji. He was one of the youngest of the group of men who began painting at the start of the Western Desert art movement in 1971, and was a founder of Paunya Tula Artists. During the 1970s, Tjampitjinpa was preoccupied with returning to his traditional lands and became a strong advocate for the outstation movement, travelling between meetings in Papunya, Yuendumu, Wirrimanu (Balgo) and Mount Doreen Station. His goal was finally achieved with the establishment of the Walungurru (Kintore) settlement in 1981. Tjampitjinpa moved there with his young family in 1983, establishing an outstation at Ininti (Redbank) and serving as chairman of the Kintore Outstation Council. During this period, he emerged as one of Papunya Tula Artists’ major painters, pioneering the bold, scaled-up, linear style that came to dominate many of the Walungurru painters’ work during the 1990s. His distinctive aesthetic preoccupa-tion is exemplified in the untitled works of 1994 and 2001. Now one of the last founding members of Papunya Tula Artists, Tjampitjinpa’s career spans more than 40 years. He has had six solo exhibitions since 1989 in Australia, most recently at Utopia Art, Sydney. Throughout the 1980s Tjampitjinpa worked devotedly on a land claim for Ininti, holding meetings in Darwin, Warmun (Turkey Creek...