- KANDIMBONG ANCESTOR FIGUREAncestor figure,
KANDIMBONG ANCESTOR FIGUREAncestor figure, Kandimbong, large, with conical headdress and mask-like face. Simple, clean lines, yet very expressive.
Traditional Lower Sepik River figures, representing clan founders, actual ancestors, ancestor spirits, or mythical cultural heroes are generally called Kandimbong, and include small amulet (malita) figures and larger figures of human form such as this. They were consulted on various occasions and provided with food/drink much as one would give offerings to deities in other traditions. The figures were carved either by men or women, and carried by either gender, but the most important ones tended to be kept in the male ceremonial house “Tamberan” before being brought out for ceremonial occasions.
Locale: Lower Sepik River
Country: Papua New Guinea
Date: 1936 or earlier
Material: Wood
Dimensions: H 25"
Technique: Carved
Provenance: Louis Pierre Ledoux Collection
Sources:
Page 207-208 Suzanne Greub (ed.), 1985, Tribal Art Centre, Basel. Authority and Ornament: Art of the Sepik River Papua New Guinea. Published in conjunction with the exhibition.
Page 96 Peter Brunt et al (ed.), 2012, Yale University Press. Art in Oceania: a new history.
2015 Myth Magic exhibit at National Gallery of Australia in Canberra
https://nga.gov.au/exhibition/MythMagic/Default.cfm?IRN=243773&MnuID=3&ViewID=2
https://nga.gov.au/exhibition/MythMagic/Default.cfm?IRN=82555&MnuID=3&ViewID=2
Page 104 Oceania: Art of the Pacific Islands in the Metropolitan Museum of Art.
- LOWER SEPIK RIVER FIGURE, MALE AMULET
LOWER SEPIK RIVER FIGURE, MALE AMULET KANDIMBONGLower Sepik River Figure, male amulet Kandimbong with original tag
Lower Sepik River Figure, small male amulet figure Kandimbong, includes original tag labeled "Kaup 3/2/36' and "Maleta figure, scratched .. given to male ..."
Similar item displayed at 2015 Myth Magic exhibit at National Gallery of Australia in Canberra.
Locale: Kaup, Murik Lakes, Lower Sepik River
Country: Papua New Guinea
Date: 1936 or earlier
Material: Wood
Dimensions: H 5 1/2" x W 2"
Technique: Carved
Provenance: Louis Pierre Ledoux Collection
Similar item:
2015 Myth Magic exhibit at National Gallery of Australia, Canberra
https://nga.gov.au/exhibition/MythMagic/Default.cfm?IRN=252186&MnuID=3&ViewID=2
Christie's 2016 (set of seven)
https://www.christies.com/lot/lot--6004484/?from=salesummary&intObjectID=6004484&lid=1&ldp_breadcrumb=back
- LOWER SEPIK RIVER MASK, KOPAR / ANGORAM
LOWER SEPIK RIVER MASK, KOPAR / ANGORAM STYLECarved Wooden Mask with very long, pointed nose. According to the Metropolitan Museum of Art, this kind of mask with its long, pointed beak-like nose is typical of Lower Sepik art, specifically of the Kopar / Angoram people, and depicts powerful spirits.
Locale: Lower Sepik River
Country: Papua New Guinea
Date: 1936 or earlier
Material: Wood, Pigment
Dimensions: H 37"x W 9 1/2"
Technique: Carved
Provenance: Louis Pierre Ledoux Collection
Similar items:
2015 Myth + Magic, Art of the Sepik River. National Gallery of Australia, Canberra.
https://nga.gov.au/exhibition/MythMagic/Default.cfm?IRN=249111&MnuID=3&ViewID=2
The Met Museum
https://www.metmuseum.org/art/collection/search/313079
Field Museum of Natural History, Chicago, Joseph N. Field Expedition 1909-1913, item 140947. (Source: 1971 Wardwell, Alan The Art of the Sepik River. Art Institute of Chicago, page 17.)
Please Note: Tip of nose was slightly damaged during preview.
- LOWER SEPIK RIVER MASK, MURIKCarved
LOWER SEPIK RIVER MASK, MURIKCarved Wooden Mask with shell ornament around eyes, red and yellow pigments and design, fibrous tufts in eyes.
One identifying feature of Murik masks is their long trunk-like nose (or beak), and a spiral spider design “mabaranego” -- the spider represents precision and intricacy.
Locale: Lower Sepik River, Murik Lakes region.
Country: Papua New Guinea
Date: Early 20th Century A.D.
Material: Wood, Pigment, Fiber, Shell
Dimensions: H 18"/ 46 cm x W 8"/ 20 cm
Technique: Carved
Provenance: Louis Pierre Ledoux Collection
Similar items:
Bonhams
https://www.bonhams.com/auctions/26147/lot/33/
Sotheby's
https://www.sothebys.com/en/buy/auction/2020/sculpture-africa-oceania-americas/mask-coastal-sepik-river-madang-province-papua-new
2015 Myth + Magic, Art of the Sepik River. National Gallery of Australia, Canberra.
https://nga.gov.au/exhibition/MythMagic/Default.cfm?IRN=240765&MnuID=3&ViewID=2
- LOWER SEPIK RIVER MASK, KAUP, MURIK
LOWER SEPIK RIVER MASK, KAUP, MURIK LAKES REGIONMask (Flute Mask) with small ears
Locale: Lower Sepik River, Kaup (Murik Lakes)
Country: Papua New Guinea
Date: 1936 or earlier
Material: Wood, Pigment
Dimensions: H 11" 28 cm x W 6" / 15 cm
Technique: Carved
Provenance: Louis Pierre Ledoux Collection
Similar items:
American Museum of Natural History - Division of Anthropology, 80/8902
https://anthro.amnh.org/anthropology/databases/common/image_dup.cfm?catno=80%2E0%2F%208902
The catalog explains that this kind of mask would have been used and worn by children in a 'devil' dance.
2015 Myth + Magic Art of the Sepik River, Papua New Guinea. National Gallery of Australia, Canberra.
https://nga.gov.au/exhibition/MythMagic/Default.cfm?IRN=240759&MnuID=3&ViewID=2
- GROUP OF SEVEN NUCLEAR WEAPONS BOOKS,
GROUP OF SEVEN NUCLEAR WEAPONS BOOKS, THREE SIGNED AND NOTATED BY ROBERT S. MCNAMARAGROUP OF SEVEN NUCLEAR WEAPONS BOOKS, THREE SIGNED AND NOTATED BY ROBERT S. MCNAMARA, including 'The Spread of Nuclear Weapons: A Debate', by Scott D. Sagan and Kenneth N. Waltz; 'On Thermonuclear War', by Herman Kahn; 'Ending War: The Force of Reason', ed. by Maxwell Bruce and Tom Milne; 'Dark Sun: The Making of the Hydrogen Bomb', by Richard Rhodes (with letter from Simon & Schuster); 'The Four Faces of Nuclear Terrorism', by Charles D. Ferguson and William C. Potter (dedication signed by Potter); 'The New Nuclear Danger: George W. Bush's Military-Industrial Complex', by Dr. Helen Calidcott; 'Report of the Canberra Commission on the Elimination of Nuclear Weapons, August 1996' (7) Provenance: Robert McNamara Estate and Diana Byfield McNamara Book Collection
- U.S. Naval Fleet scratch built from
U.S. Naval Fleet scratch built from old cigar boxes, spools, etc. to include USS Canberra (CAG-2); Heavy cruiser USS Wichita (CA-45); USS Galveston (CLG-3); Terror; Oliver Hazard Perry (109); Marblehead and two others, all made by Police Magistrate Gordon R. Herr of Upper Darby, PA who started building models in the 1930's. See the article in Popular Mechanics Magazine (photocopy included).
Largest: 12"h x 50"l x 7"w
Condition: Wear consistent with age.
- French and Italian cruise line ephemera
French and Italian cruise line ephemera to include 1937 Booklet "Normandie" from Compagnie G?n?rale Transatlantique - French Line, 72-page booklet detailing the incredible luxury aboard the Normandie liner - the pride and joy of life of Compagnie G?n?rale Transatlantique - French Line. Printed in France, (4) Italian Line menus with Italian paintings printed at front, 1960's, (2) 1937 and 1936 Cosulich cruise line dinner menus Italian Masks images at front, (16) Italian Cruise Line menus 1960's, Leonardo Da Vinci Italian Line 1974 Luncheon Menu, (2) 1960's Costa Cruise line menus, (10) Transatlantique French Line menus 1950's/60's (4) Italia Line menus 1950's (4) SS Leonardo Da Vinci menus, (8) 1960's Leonardo Da Vinci menus, 1960's, (8) Compagnie G?n?rale Transatlantique menus 1950's, Liberte deck plan first class French Line brochure, SS Canberra dinner menus Victoria Italian Line menus, Compagnie Generale Transatlantique French Line 1950's dinner menus, 1930 Royal Mail list of passengers RMS Demerara and Royal Mail Atlantis 1939 cruise brochure.
- (88) 33-1/2 RPM Classic, Jazz, Soul,
(88) 33-1/2 RPM Classic, Jazz, Soul, Rock Records c/o Air Supply Now and Forever, Herb Albert and the Tijuana Brass Greatest Hits The Brass One Coming, America Self Titled, Atlanta Rhythm Section A Rock and Roll Alternative, Blood Sweat and Tears, 3, 4, Self Titled (2) copies, Jackson Brown Running on Empty, BT Express Do It Till Youre Satisfied, The Captain and Tennille Love Will Keep Us Together, The Cars Self Titled, Harry Chapin Greatest Stories Live, Verities and Balderdash, Short Stories, Chicago X, David Clayton Thomas Self TItled, Tequila Sunrise, Chick Corea Tap Step, Jim Croce I Got A Name, You Dont Mess Around With Jim, Christopher Cross Self Titled, England Dan and John Ford Coley Nights are Forever, John Denver Greatest Hits, Neil Diamond Love Songs, Woods, Beautiful Noise, Sheena Easton, You Could Have Been With Me, Maynard Ferguson The Best of MF Horn, Roberta Flack Chapter 2, Fleetwood Mac Rumors, Dan Folgelberg Greatest Hits, GoGos Beauty and The Beast, AL Green Im Still In Love With You, Jo Jo Gunne Asylum SD 5053, Isaac Hayes Chocolate Chip, Bob James H, Billy Joel The Bridge, (2) An Innocent Man, Piano Man, 52nd Street, Carole King (2) Tapestry, Leo Kottke Greenhouse, Yusef Lateef The Gentle Giant, Madonna True Blue, Melissa Manchester Self-Titled, Dont Cry Out Loud For The Working Girl, Barry Manilow This Ones for You, Dave Mason Its Like You Never Left, Les McCann and Eddie Harris Swiss Movement, Sergio Mendez and Brasil 77 Love Music, Buddy Miles Them Changes, Michael Murphy Blue Sky Night Thunder, Olivia Newton John If You Love Me Let Me Know, Jane Oliver Stay The Night, Pousette Dart Band Amnesia, The Alan Parsons Project, Eye In The Sky, The Turn of The Friendly Canberra, Pussy Cats Nilsson, Lionel Richie Cant Slow Down, Tom Rush New Year, Saturday Night Fever Soundtrack, Seals and Crofts Greatest Hits, Simon and Garfunkel The Concert in Central Park, Bruce Springsteen and the E Street Band Live 1975-85 5 LP Set, Cat Stevens Buddha and The Chocolate Box, Tea for The Tillerman, Catch Bull at Four Foreigner, James Taylor Sweet Baby James, Never Die Young, One Man Dog, Greatest Hits, The Turtles Golden Hits, Dionne Warwick Friends, Grover Washington Jr Winelight, Mister Magic, Barry White Ive Got So Much to Give, George Winston December Piano Solos Winter Into Spring Solo Piano
- ? FINE AND RARE CERAMIC 'SYDNEY COVE
? FINE AND RARE CERAMIC 'SYDNEY COVE MEDALLION' BY JOSIAH WEDGWOOD
THE ORIGINAL ISSUE, 1789 modelled from dark brown unglazed earthenware, with crisply moulded decoration depicting a female figure, emblematic of Hope, wearing classical robes and standing on rocks before an anchor, extending her right hand to Peace, Art and Labour; the figures stand on the shores of a bay, in the distance a ship sails; the female figure of Peace holds an olive branch in her right hand with a horn of plenty at her feet; Art is modelled as a female, with a palette in her right hand; Labour is depicted as a bearded figure, wearing a loin cloth and holding a sledge hammer over his shoulder; 'ETRURIA / 1789' is inscribed below the scene in raised letters; the reverse impressed 'MADE BY / IOSIAH WEDGWOOD / OF CLAY / FROM / SYDNEY COVE'5.7cm diameter, 0.2cm depth, 5.6cm internal diameter of the encircling ringFrom a private UK collectionTHE FIRST FLEET AND THE SYDNEY COVE MEDALLIONAn object of great importance in ceramic history and the history of travel and exploration, the Sydney Cove Medallion is an original artefact from the voyage of the First Fleet under Captain Arthur Phillip, which marked the beginning of European settlement in Australia.Phillip landed at Botany Bay in January 1788 with orders to establish a penal colony, which he did some twelve miles north at Sydney Cove, now Sydney Harbour. The settlement he founded is the direct ancestor of the modern Australian state and has been viewed favourably by historians as a model of just and pragmatic governance.Exhibiting a fineness of detail made possible by the unique qualities of the Sydney Cove clay, the medallion is a superb embodiment of the ingenuity of one of 18th century Britain’s leading industrialists.The medallion was made at Wedgwood's Etruria factory in 1789. It was designed by Henry Webber and modelled by Wedgwood’s principal modeler, William Hackwood. It is moulded in bas-relief with a classical scene depicting Hope, encouraging Peace, Art and Labour, to work for the prosperity of the new young settlement. The original medallions range in colour from pale biscuit to a dark brown, almost black colour, as represented by the example being offered.In 1770 Captain James Cook discovered the Australian continent and claimed part of it for Britain. With the loss of British colonies in North America, the British were keen to expand their territories in other parts of the world and the government decided to found a settlement in Australia. In 1788 Captain Arthur Phillip became First Governor of the state of New South Wales, where he had been commissioned by George III to create a penal colony, as a way of dealing with the overcrowding in British prisons and prison ships. Eleven ships, carrying over a 1000 people, including 850 convicts and 200 officers, put down anchor at Sydney Cove on 26th Jan 1788. This is now known as ‘The First Fleet’. In November of that same year Captain Phillip wrote to Sir Joseph Banks, who was president of the Royal Society and had accompanied Captain Cook on his 1768 expedition, to inform him that he had found minerals and white clay in the area. He sent samples of these to Banks at the end of 1788. Banks directed the minerals to the relevant scientists, and he sent the clay directly to his friend and fellow Royal Society and Lunar Society member, Josiah Wedgwood, for him to investigate its potential for ceramic production. Wedgwood worked with the clay and was very pleased with its qualities. Two batches of medallions were produced from the clay sent back to Sir Joseph Banks. From the first batch of medallions Wedgwood sent an example to Banks and on 12th March 1790 Wedgwood wrote to him:“I have the pleasure of acquainting you, that the clay from Sydney Cove, which you did me the honour of submitting to my examination, is an excellent material for pottery, and may certainly be made the basis of a valuable manufacture for our infant colony there. Of the species of ware which may be produced from it, you will have some idea from the medallions I have sent for your inspection.” [1]Medallions from the first batch were to be sent to Sydney Cove, for the attention of Governor Phillip, on the ‘Second Fleet’ and they were to be distributed at his discretion. By November 1789, a second batch of medallions had been completed. Wedgwood’s friend, the physician and poet Erasmus Darwin, was the recipient of one. He wrote to Wedgwood:“I have received great pleasure from your excellent medallion of Hope. The figures are all finely beautiful and speak for themselves.” [2]In Nov 1789, an account of ‘The Voyage of Governor Phillip to Botany Bay’ was printed by the publisher John Stockdale. On the title page there is an engraving of the Sydney Cove Medallion and a description of it:“The elegant Vignette in the title-page was engraved from a medallion which the ingenious Mr Wedgewood caused to be modelled from a small piece of clay brought from Sydney Cove. The clay proves to be of a fine texture, and will be found very useful for the manufactory of earthenware. The design is allegorical; it represents Hope encouraging Art and Labour, under the influence of Peace, to pursue the employments necessary to give security and happiness to an infant settlement.” [3]It is unknown how many medallions of the original issue were produced. The whereabouts of 12 are currently known. [4] As the medallions would have taken considerable time and skill to make Richard Smith suggests in his Sydney Cove Medallion essay that:“Wedgwood would have made no more than was necessary for the publicity value. One for Erasmus Darwin; a few for Sir Joseph Banks as President of the Royal Society for his own distribution; perhaps fifteen or twenty for Governor Phillip’s distribution. The total production may have been somewhere around two dozen, probably no more.”Despite having carried out thousands of ceramic experiments over many years, it appears that Wedgwood was proud of creating the Sydney Cove medallion, producing a special issue to commemorate the settlement at Sydney Cove. These medallions record the start of a new chapter of colonial history as well as symbolising Wedgwood’s skill and technical innovation, which was at its height at this time. The medallions are fine and fragile in nature. Surviving examples are rare and are seldom seen on the market.[1] Robin Reilly, Wedgwood, published by Stockton Press, 1989, volume 1, p. 127[2] L.Richard Smith, The Sydney Cove Medallion, The Wedgwood Press, Sydney, Third Edition, 1987, p.6[3] From the Account of the Vignette in The Voyage of Governor Phillip to Botany Bay, printed for John Stockdale, Piccadilly, London, 1789, p.vi[4] The whereabouts of twelve original issue medallions is known at the time of writing. In addition to the medallion being offered for sale, three are in UK museums: one in the British Museum; one in the Lady Lever Art Gallery; one at the Potteries Museum and Art Gallery, Stoke-on-Trent. Others are in Australian museums and institutions: five in the Mitchell State Library, New South Wales; one in the National Museum of Australia, Canberra; one with the Sydney Living Museums Corporation; one in the Silent World Foundation. In 2014 a medallion was offered for sale by an Australian antiques dealer and is now in private ownership.