2010s Tribal Art

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...

Unique tribal plank art with metal base. The piece features a 5.5' tall wooden plank with a colored ornate fish design. Great conversation piece for any space.

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...

Mid-20th century man's ceremonial (cofradía) outfit, Chichicastenango, Guatemala. 25" (63.5 cm) shoulder to hem by 59" (274 cm) across shoulders It is rare to find a complete ceremonial cofradía outfit in such good condition. The blue zigzag embroidery at shoulders and cuffs is said to signify that the wearer was an astrologist or day-keeper of the ceremonial Maya calendar...

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...

Antique Kuba Shoowa Cut-Pile & Embroidered Cloth, DR Congo A graphically compelling example of a Kuba raffia fiber prestige cloth with cut pile and stitched embroidery. In very good...

Mid-20th century tribal beaded cache-sex modesty apron (Pikuran), Mandara Mountains, Cameroon These colorful cache-sex were worn for celebrations, rituals...

This sculptural African bronze currency piece forms a powerful circular silhouette, crowned by two elongated, crossing points that meet like a ...

Mid-20th century tribal beaded cache-sexe modesty apron (pikuran), Mandara Mountains, Cameroon These colorful cache-sexe were worn for celebrations, rit...

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...

Antique Kuba Shoowa Cut-Pile & Embroidered Cloth, DR Congo A graphically compelling example of a Kuba raffia fiber prestige cloth with cut pile and stitched embroidery. In very good...

20th Century bark cloth painting, Mbuti people, Ituri Forest, D. R. Congo A wonderful barkcloth from the Mbuti people in the Ituri forest of northeastern Democratic Republic of the ...