carved in hardwood, of tapering form, the triangular face decorated on both sides with engraved diamond pattern designs in eight sections with traces of old white and red pigment infill, with tapering ends and deep cut lug handle, bears old museum label with inscription 'Shield called Eelimun, Neela or Murriga', old patina overall
carved in hardwood, the striking section with fine adze markings, the shaft decorated with linear designs to the top section and roughly pecked designs at the handle, old shiny patina overall
i) WHEN MY STEP BROTHER PASSED AWAY... (ii) THAT NIGHT I GOT PISSED..., 2006
(i) When My Step Brother Passed Away..., 2006 synthetic polymer paint on canvas 91.5 x 122.0 cm signed and dated lower right: Ian. W. Abdulla 2006 (ii) That Night I Got Pissed..., 2006 synthetic polymer paint on canvas 91.5 x 122.0 cm signed and dated lower right: Ian. W. Abdulla 2006
(i) FEMALE FIGURE NATURAL EARTH PIGMENTS ON CARVED AND SHAPED SOFT WOOD (ii) MALE FIGURE NATURAL EARTH PIGMENTS ON CARVED AND SHAPED SOFTWOOD
(i) Female Figure natural earth pigments on carved and shaped soft wood 70.0 cm height (ii) Male Figure natural earth pigments on carved and shaped softwood 63.0 cm height
(i) UNTITLED NATURAL EARTH PIGMENTS ON EUCALYPTUS BARK (ii) UNTITLED NATURAL EARTH PIGMENTS ON EUCALYPTUS BARK
(i) 68.0 x 26.0 cm (irregular) (ii) 50.0 x 18.0 cm (irregular) inscribed verso: artist's name, tribe and story on Oenpelli label, along with cat. JL83 / OE01 / TPOH
(i) natural earth pigments on eucalyptus bark 50.0 x 22.0 cm (ii) natural earth pigments on eucalyptus bark 51.0 x 21.0 cm (iii) natural earth pigments on eucalyptus bark 40.5 x 23.5 cm (iv) natural earth pigments on eucalyptus bark 38.0 x 22.0 cm
(i) natural earth pigments on eucalyptus bark 55.0 x 27.0 cm inscribed verso: artist's name and cat. P5577-IRT / ITT (ii) natural earth pigments on eucalyptus bark 37.5 x 15.5 cm inscribed verso: artist's name: IGNATHIA / IGNEWSHA [sic] and cat. P4249/HEE
as this is from an extremely remote area in Papua New Guinea not a lot is known about this striking mask. It is thought to represent an avian ancestral spirit
pierced in the back for attaching to a small hunting magic bag, pierced ears, septum and beard for decorative attachments, mother of pearl eyes, bush twine and cowrie shell ear adornments and painted in red trade paint
a variation of the Brag Mask, with the nose curving down instead of straight out, painted for ceremony with red and black earth pigments. Scooped surface to the rear of the mask and original bite stick still attached. The perimeter pierced overall for attachments with evidence of ceremonial use. Probably attached to the Tumbuan costume for a ceremony that takes place every ten to fifteen years.
(i) A Sepik Mask from Passam No. 1 village with red, white and black painted decoration and beak like nose, c.1970s synthetic polymer paint and enamel on carved wood 60.0 length
ceremonial hand club, made of light wood and carved overall, the handle features a male and female tiki figures embracing in the act of copulation. The end of the handle has a mask with protruding tongue, some old damage to the feet of the male figure, shell insets missing from the handle and other small dents accumulated over time. The subject matter shows complete disregard for the missionary mind set that neuters most figures carved at this time.
finely carved in the form of a human face, carved pieces of pearl shell inlaid for eyes, and in patterns surrounding the eyes, on the cheeks and chin area, and in a circular pattern on the elongated ears. The arms are bent with a post supporting the chin, the open mouth showing bared teeth, the nose pierced with a large tooth, possibly canine. The forehead is bound with plaited fibre under which is human hair. Pierced on the reverse for attachment and old patina overall.
(i) A Gunstock Club, Kiakavo carved from hardwood, with slightly flared head with roughened panel, with long curved spur above and dark glossy patina overall 89.0 cm length
intricately incised overall, the leaf shaped blade, carved with chevron designs, the circular shaft similarly decorated with a scalloped band at centre, the bulbous handle carved with a ring of ten faces, old dark patina overall
of elegant form, the leaf like paddle section with and simple curvilinear designs with traces of lime infill, the gently tapering shaft terminating in carved handle with engraved curvilinear designs, old patina
both of typical form, with elegant leaf like paddle section, one with fine raised longitudinal ridge terminating with a boss end and simple curvilinear designs, the other undecorated, old patina
carved from hardwood, with opposing incurved hooks, the nose pierced. Traces of white and red pigment and old wear, smooth patina from handling, an old collection label to the reverse
of rectangular form, the three logs linked by four split cane strings, overall incised decoration of spirals and bands; black, red and white pigment, deep cut loop handle
two of typical design with tapering shafts, the striking section with incised grid design, one with notched grip, the third club with bulbous striking section decorated with rough carved grid design and notched handle grip, old patina
both of elegant leaf like form, the first with resin handle and peg attached by sinew and spinifex resin, the second missing peg and old repair to body, both with old shiny patina
of convex section, the front decorated with criss-cross and linked elongated ovoid patterns with a central band of horizontal striations, the reverse with fine engraved lines, old patina overall
of elongated leaf like form, the front incised with fine linear zig-zag designs, the reverse with delicate adze markings and two incised lines, old patina overall
of leaf like form, tapering to a knob handle at the base encrusted with spinifex resin, a wooden peg attached at the top with spinifex resin and sinew, the front decorated with linear zig-zag design and indentations, the reverse with adze makings, old repair to the top and old patina
of elongated leaf like form, tapering to a knob handle at the base encrusted with spinifex resin, the wooden peg attached at the top with sinew, the front decorated with traditional linear designs, the reverse with rough adze makings, old patina
carved in hardwood of elongated ovoid form, the front engraved with broadly fluted zig-zag design, in-filled with alternating bands of pink and orange synthetic pigment, pierced to the upper right for bush repair, the reverse with fluted linear design and decorated with four bands of pink and orange pigment, loop handle
carved in hardwood, of elongated ovoid form, the front engraved with broadly fluted zig-zag designs, infilled with alternating bands of red and white natural pigments, the back decorated with longitudinal fluting and well worn carved loop handle, aged patina overall
carved in hardwood, of elongated ovoid form, the front engraved with broadly fluted zig-zag designs, infilled with alternating bands of red and white natural pigments, the back undecorated, with carved loop handle
carved from hardwood of bi-convex section and elongated tapering form terminating in a bulbous handle, traces of circular designs in dark pigment to both sides
carved from hardwood, of circular section and elongated form tapering gently at both ends, the hand grip distinguished by pecked spiral designs, dark shiny patina overall
of elongated ovoid form, the front decorated with broad vertical fluting and decorated with red ochre and thin horizontal bands of white ochre, the reverse with vertical fluting and deep cut well worn handle, old shiny patina overall
(i) A Parrying Shield carved hardwood 49.0 cm height (ii) A Throwing Stick carved hardwood 65.0 cm length (iii) A Throwing Boomerang of bi-convex section, both sides decorated with incised zig-zag design infilled with red ochre 61.0 cm length
