Papua New Guinean Mounted Objects

mid-20th century Tami Islands Papua new guinea wooden feast bowl Of classic form, each end carved with raised and incised imagery depicting stylized sea cr...

Two Oceanic ceremonial weapons from PNG highlands circa 20th century. It consists of two pieces. The first is an ax with a wood shaft and a flat elongated he...

This rare antique Kukukuku (pronounced "cookah-cookah") war club is from the remote Morobe Province located within the Eastern Highlands of Papua New Guinea. The head is carved from...

Vintage Papua New Guinea Tribal Tapa Cloth A striking vintage tapa cloth from Papua New Guinea, handcrafted from natural barkcloth and decorated with traditional tribal motifs. Made...

A scarce antique African tribal carved Hemba helmet mask, the Suku peoples, possibly Kwese culture, Democratic Republic of the Congo, Central Africa, early 20th century, surmounted by four-legged animal, over round face, with mouth ajar and incised jagged teeth exposed, protruding almond shaped eyes, scattered remnants of pigment, full raffia fiber fringe, mounted on wood stand. A superb museum quality example, this remarkable tribal folk art sculpture is a wonderful way to add rustic warmth, rich historical depth, and fascinating cultural interest to any space! Dimensions: (approx) Overall: 26" High, 9" Wide, 10.25" Deep; Mask only: 15" Tall; 7 lbs total Provenance / Acquisition: Acquired from the highly reputable auction house, Austin Auction Gallery, est.1983, Austin, Texas. Excellent Condition: Nicely aged distressed patina over the whole. Highly desirable wear consistent with age and indicative of use, including scattered losses, antique character marks and typical signs of aging throughout. Retaining scattered remnants of original pigment. Overall a superb museum quality example Primitive Arts Of Africa: Among the Suku of the southwestern part of the Democratic Republic of the Congo, masks plays crucial role in protecting boys during initiation, the vulnerable period between boyhood and manhood. The power contained in Hemba masks...

A male necklace from the Asmat Village, Papua New Guinea. Four rows of large polished white cowrie shells in two sizes, seamlessly sewn onto a cotton macramé base, which has been ha...

Collection of Six Dan and Bassa Passport Miniature Masks Ivory Coast Africa Dan and Bassa passport masks were small masks for individuals carried as charms for protection and healin...

The Sepik River region of Papua New Guinea has long been recognised as one of the great centres of Oceanic art, renowned for its extraordinary diversity of sculptural traditions. Stretching through remote villages connected by waterways and shared ceremonial practices, the region fostered distinctive artistic languages that gave visual form to ancestry, spirituality and communal identity. Carved figures depicting ancestors, protective spirits and mythological beings served as intermediaries between the visible and unseen worlds, occupying an essential place within ritual life. Styles vary considerably between communities, from the flowing forms associated with Iatmul carving to the dramatic hooked silhouettes of yipwon figures. Despite these differences, Sepik sculpture is united by its expressive power and its role in maintaining relationships between the living, their ancestors and the forces that shaped the world around them. This compelling ancestral figure originates from the Middle Sepik River region of Papua New Guinea and dates to the early to mid-twentieth century. Carved from dense hardwood, it embodies the dramatic abstraction and spiritual intensity for which Sepik sculpture is celebrated. The figure stands in a dynamic posture with sharply bent knees and angular arms, its hands splayed and feet flattened in a manner that conveys both tension and authority. The body has been deeply incised and enriched with natural earth pigments in red, white and black, creating a striking interplay between carved texture and painted surface. Blackened pigment defines the principal forms, while contrasting colours emphasise the limbs, facial features and other key details, heightening the visual impact of the composition. The head is particularly arresting. Elongated and mask-like in appearance, it features a pronounced brow and a dramatic beak-like hooked nose that projects confidently from the face. Set within hollowed sockets are a pair of inlaid cowrie shell eyes, their luminous surfaces animating the figure with an intense and watchful presence. This combination of angular anatomy, exaggerated facial structure and shell ornamentation is consistent with the carving traditions of the Iatmul peoples and related communities of the Middle Sepik, where ancestral imagery occupied a central role in ceremonial life. Figures of this type were often displayed within ceremonial structures or brought into ritual contexts to invoke the guidance, protection and authority of ancestral spirits. They acted as powerful reminders of lineage and continuity, reinforcing the bonds between generations while maintaining connections with the supernatural realm. Rich in character and sculptural strength, this figure exemplifies the expressive sophistication of Sepik art...

A beautiful stylized antelope head used as headdress on ceremonial dances. Retains the old painting and patina over the carved wood. Traded by a professor working in Africa in the 19...

Yua Shell Currency, Bride’s Price Sepik River Region, Papua New Guinea Hand carved from a clam shell Measures: 7.5 x 8.5 in / 19 x 22 cm Height on c...

Early and rare mask from Gabon, Central Africa, created by the Tsogho peoples. Powerful large mask with carved open eyes, and black painted eyes above, below heavy carved eyebrows. ...

Late 19th-early 20th Bailer shell pectoral, Highlands, possibly Mendi People, Papua New Guinea These large shell pectorals were worn ceremonially by men and women in Papua New Guine...