Ethnic Design-Ceremonial Monkey Figure on Snailshell, German Coll., Bulu People

Female Fertility figure “Yanda", Zande People, DRC, Old collection n° 394 Baudouin de Grunne . This highly abstract fertility bust, characterized by a prominent belly, is sculpted fr...

This fine, round, dark grey vessel depicts a complete figure which is rare. It was made by the Mangbetu People. The Mangbetu ethnic group lives deep in the...

A Kissi Nomoli carved stone figure, a male with his hands wrapped around his knees, on a base; from the Kissi people of Sierra Leone. Greyish brown patina, snout-like mouth, large no...

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...