Tribal Art

Antique Ethnic Artifact Sepik River Cassowary Bone from Papua New Guinea For many groups in Papua New Guinea, bone was an important medium for making tools of all types. This artifact is made from leg bone of a cassowary, a large, flightless, and extremely dangerous, bird. Cassowaries also play an important role in the mythology of groups in the Sepik River area. Though no longer used these bone artifacts are still used ceremonially. They often play important roles in male initiation and other rituals. They are also worn as personal adornment by tucking them into a band of braided fibers worn around the upper arm. Antique Ethnic Bone Cassowary Artifact with minimal carving and incised design confined to the joint end. A small hole has been drilled through from both sides of the top and presumably for the threading of a cord. The bone has been partially divided near the top and to form two prongs that project down the back of the dagger possibly allowing the user to wear is tuck into a waist band or belt. Origin Papua New Guinea Maprik Dist Area From the Art Collection of Marian and John Scott, acquired in 1962. Similar items are in display in the Timothy S. Y. Lam Museum of Anthropology. Purchased from the amazing private collection of Mark Lissauer who spent his life collecting niche ethnographic pieces. About Mark Lissauer: Mark Lissauer spent forty years travelling abroad for months at a time collecting ethnographic artefacts primarily from New Guinea and the islands of the West Pacific, and from Asia and Himalayan countries. Fluent in five languages and having in the course of business travelled to more than forty countries, Mark is well-known to museums and art-collectors around the world for his long career and his interesting and diverse collection of rare ethnographic material. Mark knows the origin and symbolism of each piece. Through extensive research and more than ninety trips around the globe, Mark familiarised himself with the traditions of the various cultures he visited in order to understand the meaning of each object to its region and tribe. His home has a specialist library and several rooms are filled with tribal carvings, textiles and ethnographica. He acquired his first tribal piece in 1948 during a business trip to Milne Bay, New Guinea, and has since documented the acquisition of some 35,000 items. Several thousands of these have been sold to important private collections and museums worldwide, including the Rockefeller Museum, the British Museum and the Musée National des Arts d’Afrique et d’Océanie, now incorporated into the Louvre Museum. Estimator certificate of authenticity by Wayne Heathcote Tribal Art Dealer and Expert. Heathcote has a flash gallery in Brussels, where much of the tribal art business is centred, and is an expert at Sotheby's tribal art sale...

Large African Tuareg hand tooled leather pillow. Great colors, hand painted with tribal geometric design with long leather fringes on each side. Handcrafted in Africa with pieces of ...

Extra Large Curved Hoe currency Angas, Nigeria Early 20th century Iron Measures: 29.5 x 20.5 in. / 75 x 52 cm Height on custom display stand: 33.25 in. / 84 cm Weight: 20.6 pounds / 9.34 kg Combined weight with base: 43.8 pounds / 19.9 kg The large currency forms are comprised of a heavy sheet of iron forged into the shape of a curved hoe. They were customary gifts for a bride’s father as well as having a function during wedding celebrations (Ballarini, The Perfect Form...

Stunning and rare Omani tribal necklace in gold and silver featuring eight Burgau thalers dated 1780 and a large amulet box (Hirz) also in gold and silver. 19th century. Very good condition. Preserved and professionally framed. Dimensions of the necklace: 52 x 30 x 3 Dimensions of the frame: 70 x 47 x 5 Secure shipping. This fine Omani necklace of silver and gold comprises two strands of spiky, seed pod-like silver beads; gold-wrapped beads; eight silver Maria Theresa thaler coins; and a large silver and gold amulet box, with multiple chain tassels each of which finishes with a square-shaped pendant cut from sheet silver. The cigar-shaped amulet box called hirz would have contained some Koranic verse or religious text. Such a spectacular display of wealth would only have been worn at times of important festivities such as marriage celebrations. Maria Theresa thalers were made in Austria since the reign of Empress Maria Theresa of the Austro-Hungarian Empire. The Empress died in 1780 and since that time, all thalers that were subsequently struck were minted with that date regardless of the actual year that they were produced. The coins achieved such a level of trust for their silver content (which is 83.3% silver) in the Middle East that neither the design not the date was varied, and so for more than 200 years the coins were used as an international currency among the tribes and the states of the Middle East, in much the same way as the Spanish dollar was used as an international currency at the time elsewhere. The thalers were used to complete most important transactions locally and were also given as dowries. They were also an important source of silver and were melted locally for jewellery. The coins made their way to the ports of the Red Sea, Egypt and northern Africa from the ports of Genoa, Trieste, Livorno and Marseille. European traders used the coins to buy precious materials from the Gulf and northern Africa which it desired – commodities such as spices, coffee, gum Arabic, indigo, pearls, and tortoise shell. The importance and the beauty of the coins saw them incorporated into local jewellery most particularly in Oman and Yemen. References Al-Jadir, S., Arab & Islamic Silver, Stacey International, 1981. Harrigan, P., ‘Tales of a Thaler’, Saudi Aramco World, January/February 2003. Hawley, R., Omani Silver, Longman, 1978. Hawley, R., Silver: The Traditional Art of Oman, Stacey International, 2000. Rajab, J.S., Silver Jewellery of Oman, Tareq Rajab Museum, 1998. Ransom, M., Silver Treasures from the Land of Sheba: Regional Yemeni Jewelry...

Tall hand-carved wooden oracle or divination tapper "Iroke Ifa" statue, showing a kneeling woman holding her breasts. Yoruba, Nigeria, circa 1930s. Yoruba belief specifies that each ...

Powerful Scarified Makonde portrait helmet mask from Tanzania. Early 20th century with heavy dark patina from traditional tribal use, wear inside from being used. Finely carved featu...

Rare Pre-Columbian Chancay Vessel – Peru, C 1000-1450 AD A Rare Pre-Columbian Chancay canteen type vessel, ovoid with a slim flat bottom, pottery with cream slip painted with re...

A Ulo Akha woman's Tribal headdress adorned with framework of bamboo, beads, pompons, seeds and other unique items. Immerse yourself in the rich cul...

Powerful early cubist carved wood standing female figure from the Bobo-Fing of Burkina Faso, Africa. Created early 20th century. Ex private collection Texas, originally acquired from James Willis...

Amarasi district, Kupang regency, West Timor island, early 20th century

Amazing and scarce JUDAICA object, we have here one of the most touching jewish objects we had for a long time, this small silver dowry box was made in Algeria in the early 19th century, it is all covered with symbols of jewish faith and of couples, the sliding lid has 2 flanking birds with hamsa (protective hand) on each side and a flower vase in the middle. one side shows two flanking lions with a tree in the middle and the other side shows again two big and two small birds with a flower bowl in the middle, front side has a key hole and next to it there is the Hebrew inscription ס״ט״" which says Siman tov or in English "a good sign" it is taken from the wedding blessing, underneath the lock there is another inscription with the name ״עזיזה בת אברהם בן חמו״ which is the name of the bride, her father and her grandfathers name. the box is full marked a lot of times with the silversmith mark, every side of the box is marked. this box was probably ordered by the grooms family to hold the jewelry they are giving to the bride as dowry, this type of objects are rare and there are just a few of them on museum collections. DOWRY (Heb. נְדֻנְיָה), the property a wife brings to her husband at marriage; the Yiddish equivalent, nadn, is from the same root. The custom of nedunyah became clearly defined and institutionalized only in the talmudic period. In biblical times, mohar (מֹהַר), whereby the groom bought his wife from her father (Gen. 24:53; Ex. 22:15–16; Hos. 3:2), was the accepted practice. It was then customary that the groom give the bride gifts, and that she bring certain property to her husband's home upon marriage: slaves, cattle, real estate, etc. (cf. Gen. 24:59–61; 29; Judg. 1:14ff.; I Kings 9:16). Evidence of the custom of nedunyah is to be found in Tobit (7:14; 8:21) and in the Assuan papyri (Cowley, Aramaic, nos. 15, 18). Gradually, mohar was superseded by the ketubbah custom according to which the husband merely assumed the responsibility of compensation to his wife in case he divorced her: he had to pay her 200 zuzim if she had been a virgin at the time of marriage, and 100 zuzim if a widow or divorcée (see *Ketubbah). By talmudic times, the institution of nedunyah was prevalent; the father gave a dowry to the bride since the daughter was excluded from paternal inheritance. Fifty zuzim (equivalent to the worth of 180 grams of silver) was the minimum amount a father was obliged to give to his daughter (Ket. 6:5). Parents usually gave much more, according to their social standing. Community funds provided the dowry for an orphan or a very poor girl (ibid.; cf. Sh. Ar., YD 251:8). In case of her father's death, the brothers of a minor girl were obliged to give her the minimum dowry, and the court estimated how much her father would have given her above the minimum dowry. The sum was then taken out of the father's estate and given to the daughter upon majority (Ket. 6:6; 68a–69b). In the absence of such an estimate, each daughter was entitled to receive one-tenth of the value of her father's estate in money, or in valuables (Yad, Ishut, 20:4–7; Sh. Ar., EH 113:4). If the father was unable or unwilling to pay the promised dowry at the betrothal ceremony, the groom could refuse to marry his bride (Ket. 13:5; Ket. 108b–109a). Insistence on exact payment of the promised dowry, however, was frowned upon by later rabbinic authorities (Rema to Sh. Ar., EH 2:1). In certain communities it was customary for the groom's father to make a dowry contribution equal to that of the bride's father (Ket. 102b). The dowry, whether given in real estate, slaves, money, or chattel was recorded in the marriage contract (the ketubbah) and in some instances one-third or one-fifth of the actual value of the dowry was added to the sum mentioned in the ketubbah. Based upon a decree enacted by *Simeon b. Shetah (first century C.E.), the Talmud ruled that the husband and his entire property were liable for compensation as stipulated in the ketubbah, either in case he died (when she collected the sum specified in the ketubbah from the heirs) or in case he divorced his wife (Ket. 82b). For the status of the dowry and the husband's rights and obligations, see below. The rabbinic enactments (Takkanot Shum) by R. Jacob *Tam and by the rabbinic synod of the communities of Speyer, Worms, and Mainz (Germany) stipulated that if a woman died...

A long Berber necklace, hand-crafted with Copal amber large beads and silver accents. Morocco, early 20th Century. Copal amber is a tree resin similar to amber but not fully fossil...

An incredible and rare mid-20th century Dida hand-plated Shibori tie-dyed raffia ceremonial kerchief mounted on a linen stretched board that floats off the wall in the shape of the k...

A beautifully patined Dogon fragment of a head sculpture. Because of its natural wear perhaps even being more abstract and natural. As African art inspired the European modernist mov...

This piece is an excellent example of an adornment used by Abelam warriors to frighten their enemies. They are held in a warrior’s mouth for courage and to intimidate their adversary...

This Ikat textile originates from the Island of Timor, Indonesia. It is hand-woven using naturally dyed yarns via a method passed on through generations. A wonderful textile with dis...

A provocative late 20th century Kuba cloth panel with a bold zigzag and diamond pattern woven in black and natural cut pile raffia surrounding a tongu...

Hand-sewed rice straw art by ARKO. Title: Composition Rinforzando This is one of the series named "Composition XX" Her works have the feelings of...

Tribal Art - African Art Ceremonial dance MARKA mask, Mali, Africa, circa 1930’s ,ex Jean Paul Agogue, Paris -France. H.14" x W.5" x D.4" without the stand ...

A Benin bronze of an Oba. Oba means ruler in the Yoruba language. Wearing a lattice-pattern cap with strands of beads suspended around the head. The neck is bound with a lattice-patt...

Circa 1900 Bolivian Alpaca wool poncho Woven of alpaca wool and dyed with natural dyes, this small poncho from the highlands of Bolivia is patterned with two simple wide stripes i...

Vintage Samarkand Suzani, Uzbekistan embroidered textile red and black Tashkent Suzani from Samarkand Uzbekistan, 1950. Overall good condition for its age and use some stains. "Suzani" means needlework and these embroideries are some of the most characteristic forms of textile art from Central Asia. The mastery of color and the dynamic sense of movement they convey continue to add depth and joy to contemporary interiors. A high level of creative variation and the individuation of each flower are what make each piece unique. Measures: 67.5" x 57". The Silk Road Bukhara: Like scattered pearls along the vast expanse of the Great Silk Road, the cities of Uzbekistan glisten radiantly under the unforgiving sun. This nation, nestled in a picturesque oasis, holds a treasure trove of historical artifacts, owing to its advantageous position at the heart of the ancient Silk Road network. In the year 138 BC, a transformative era commenced as China graciously opened its borders to trade, giving rise to caravans that embarked upon this illustrious route. These trading pathways served as conduits not only for the exchange of goods and craftsmanship but also for the intermingling of cultures, beliefs, and wisdom. Even today, within the ancient walls of cities like Samarkand, one can still discern the echoes of bustling voices, the melodious jingle of camel harnesses...

Set of 4 Plains Tribe American Flag Motif Ceremonial Beadwork Strips  USA, circa 1900s A rare collection of four Plains Tribe American Flag motif ceremonial beadwork strips dating ba...

An Epa helmet mask, Nigeria, Africa. Fully carved mother and child; painted red and black with touches of white; Provenance: The Children's Museum of Indianapolis; The Eiteljorg Mu...

A set of thirteen kriss handles originating from Java, Indonesia, dating from the late 18th to early 19th century. Beautiful aged patina in dark or amber tones. Exquisite carving wo...

Leather Shield, South Sudan A small leather shield typical of the region known as an upwal, concave hide is attached to a reed spine with plaiting to form a strong grip. Mounted on ...

Fine early 20th Century hand spun indigo cotton and Trans-Sahara silk cloth.

Tribal Art - African Art Dan Spoon, Côte d’Ivoire (Ivory Coast) Wood, early 20th century H.17" x W.4" x D.2" without the stand H.20" x 3"1/4 x D.4"1/8 with ...

A rare Museum quality Traditional Men’s Sword known as a Mandau. Used by the Dayak while on the Hunt and in former times in disputes regarding hunting rights and land boundaries. Thi...

Large woven painted basketry wall mask created in Blackwater Rivers area, Papua New Guinea. With open expressive mouth and mask fringed with feathers, striking mask that easily hang...

Early hardwood Mexican mask, representing a man with moustache and beard with curly hair on forehead. Strong, sharp carving with high relief detaisl. Heavy staining and wear inside...

Early Ibibio standing carved wood male figure, powerful expression with hands on sides of stomach, exposed teeth and vertical raised scarification marks on sides of face. From a shr...

Brazil, Pará, circa 1950s-1960s H. 97 x W. 106 cm Provenance: Collection Rinck Hollnberger, Munich (purchased in the 1980s)

Possibly Babanki. Circular ceremonial wood stool constructed of repeated animal heads. Original applied patina.

A chic modernist early 20th century Dan Peoples stool from Ivory Coast, carved from one piece of wood with a simple hourglass form, and the most wonderful p...

Early finely carved African Afikpo mask with stylized geometric abstract long face. From Nigeria close to the Cross River. From an old collection in the Southwest. Overall dimensi...

A long Berber necklace, hand-crafted with stone beads and wool, with a round filigree silver accent. Morocco, early 20th Century. Green and blue amazonite, red coral, glass and sto...

Late 19th-Early 20th century tribal terracotta bottle, Djenne Area, Mali A handsome terracotta bottle from the Djenne area of Mali with incised geometric patterns on the globular ...

Ancient wooden stool with four feet dating to the 19th century. From Congo, Africa. Provenance: Galerie Démons et Merveilles, Paris; Private Collection, United Kingdom.

Early 20th century leather Afghani bag.

Hand-sewed rice straw art by ARKO. Title: Composition Rubato This is one of the series named "Composition XX" Her works have the feelings of cont...

An impressive and seldom Nigerian large basket garment and cover, with dyed patterned band. Those baskets where used to preserve grains. Tall colorful handwoven lidded basket from ...

Vintage Andrianna Shamaris Senufo Style African tribal art very unique wood stool, bench, side table or headrest from a single block of wood with stunning wood grain and patina. Stur...

Grouping of Ceremonial coffee stands Ethiopia Early 20th century Wood Largest: 8" high x 6" diameter (20 x 15 cm) Smallest: 6.75" x 3.50" ( 17 x 9 cm) These little known Branc...

Old well weathered hardwood Kuna Indian abstract figure, Panama, Provenance, old CA state collection. Body abstracted down to two forms for shoulders and hips, with small fine head....

An antique hand-woven rattan backpack with three inner pockets and rustic character. Experience a slice of Thailand's rich cultural history with this u...

9th century silver processional priest's hats, Chimu culture, Peru. These silver hats were originally covered with fabric, as can be seen in the remaining surface pattern. The hol...

A pre-Columbian ceramic stirrup vessel in Cupisnique style circa 700-500BCE. This ancient vessel features a robust squatted body and a short thick stirr...

A triptych panel painting by Australian Aboriginal artist Ronnie Tjampitjinpa (1943-2023). Entitled "Tingari Cycle", the artwork was painted in 2002 for Art Mob, Tasmania in oil on c...

Ornately decorated rim, with abstract carvings on bottom. Beautiful rich patina.

Striking Bembe bearded male bust figure with hands on sides of projecting stomach and finely carved beard. Stacking square hair style on top of head and projecting element hair on b...

A tall and narrow parrying shield from the Aboriginal people living in the Western Australia. The piece was carved out of a single block of hard wood t...

This exquisite painted pottery canteen, crafted by renowned Hopi-Tewa artist Jean Sahme Nampeyo (b. 1949), is a stunning blend of traditional Hopi pott...

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...

This striking early twentieth-century mask, from the Kete culture in the Democratic Republic of the Congo, previously belonged to the private collection of Penn Kent, the former Dire...

A pair of wonderfully sculptural early 20th century handwoven wicker shields from the Tamberma people of Togo, mounted on custom steel stands.

A Dancing Mask by Dan Tribe Africa 1930's Beautiful patina. This mask was probably worn for ritual dances. Old traces of paint on the raffia Report : Base is not included

19th-century bronze currency bangle / Manilla with a fixed opening. Minimalist, simple design work with engraved geometrical circles and lines. This type of bracelet was used and wor...

A Guere wood mask with paint and fiber remnant from We people displayed on a metal stand. The We people (also known as the Krahn or Guere) are an indigenous African people that inhabit areas in nowadays eastern Liberia and western Côte d'Ivoire. Their material culture shares many aspects with the neighboring Dan tribe. Like the Dans, the We use a wide variety of masquerades, which hold important regulatory position within their small, egalitarian communities. Masks are owned by families and used by individual lineage members in contexts of social control, ritual ceremony and entertainment. This type of Guere mask, however, has a distinct fearsome character. The ferocious design with jagged facial expression, bulging tubular eyes are intended for use in mediations between community members, as visual aids during moral lessons, as well as forms of entertainment. By portraying the more frightening nature of the animal, the mask is viewed as powerful and may have been used as part of social control methods prior to the introduction of Western law systems during the colonial period. The mask on offer, based on our examination, appears to be an original one that was used natively instead of reproduction made for the tourist market. The surface presents apparently genuine patina consistent with use. The red paint that highlights the eyes and gapping mouth also appear original. There are small losses flanking the nose ridge by the eyes, extensive surface accretion, remain of some fiber tassels. The back of the mask reveals chisel marks from hand tools and importantly, stain marks that were likely from repetitive contacts from the nose of the wearer. The mask is 9" in height, and it retains an old Sotheby’s catalog...

Pair of Sino-Tibetan Silver Ritual Lamp Stands Tibet / Himalayan Region, Late 19th–Early 20th Century Pair of Sino-Tibetan Silver Lamp Stands, Late 19th–Early 20th Century A finely ...