Papua New Guinean Wall Decorations

A wonderful, very large elongated Tribal fang mask from Gabon. Hand carved and hand painted using tempura paint. Used in ceremonies, the mask has very ni...

A contemporary painting by Australian Aboriginal artist Ronnie Tjampitjinpa (1943-). 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...

Early 20th century Ceremonial Cloth / Tampan, Paminggir, Lampung region, South Sumatra, Indonesia Commonly referred to as ship cloths, these ceremonial tampan would have been used as gifts, wrappers, cushions or pillows in any number of life-transition ceremonies, including children’s first hair cutting...

Mid-20th century black dance mask, Guerrero, Mexico A nice old mask from Guererro, Mexico, used in the Tlacololero Dance of the Tlactapa and probably fr...

This is an original American eagle, hand-carved from pine during the early to mid 20th century. The eagle features a touch of original gilt over yellow sizing with hand-painted highlights, emphasizing the eyes and beak. The eagle is displayed with both wings fully outstretched. The feathers are expertly detailed, especially considering that this eagle is a single-piece carving. The eagle is both the national bird and the national animal of the United States. The founders of the United States were fond of comparing their new republic with the Roman Republic, in which eagle imagery, usually the golden eagle, was prominent. On June 20, 1782, the Continental Congress adopted the design for the Great Seal of the United States depicting a bald eagle grasping 13 arrows in its sinister (left) talon and an olive branch with its dexter (right) talons. Those arrows are tightly aligned, a symbol of "strength in unity" that's found in the traditional cultures everywhere, from the Romans to the Iroquois. In this case, the bundle of arrows were a nod to the unity of the original 13 colonies. The olive branches emphasize the power of peace. The eagle motif has since appeared in allegorical engravings...

A very decorative fertility mask by the Baule tribe, associated with the Akan people who live both in Ghana and in the Ivory Coast. The sides with three...

A very finely woven wool veil used as a head cover in the wedding ceremony among the Ait Abdellah Berber people of the Moroccan Anti Atlas region. The pattern is obtained with the re...

Early 20th century oak splint gathering basket with a large wood handle and plenty of room for holding berries, vegetables, or any myriad of floral. Today it's perfect for hanging on...

Kuba (Bushong) Raffia Fiber Textile Panel From Woman’s Skirt The Bushong people are one of the largest and most dominant ethnic groups within the Kuba Kingdom in the DR Congo, and h...

ONE absolutely GORGEOUS vintage Decorative Crafts Inc Brass Wall Sconce Shelf in excellent, well cared for condition! Gleaming lacquered ...

French embossed Leather Panel "Allegory of Music and Theater" 19th century.  

Kuba (Bushong) Raffia Fiber Textile Panel From Woman’s Skirt The Bushong people are one of the largest and most dominant ethnic groups within the Kuba Kingdom in the DR Congo, and h...