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decorated with aluminium strips, seven horns and a ridged nose bridge.

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eyes set with aluminium plates and black patina.

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herewith a Kuba wooden palm wine cup with handle and West Africa, a brass open worked bowl.

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with two carved faces.

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black and white pigments, copper alloy suspension ring.

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with an articulated facial expression. With a local restoration and black-brown patina with remnants of white pigments.

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[5]

the hollowed almond shaped face in red, white and black pigments. Along the periphery on both sides four holes. These masks are attached to voice-modifying bamboos in use during male initiation rites and deaths of adult males and females. The present item shows a channeled reverse for adjustment to the bamboo tube. Ref.: Smidt, Dirk 2007, 'Mro-fi: The Rao Spirit Mask and its voice as the Essence of Life, Middle Ramu, Papua New Guinea'' in Stevenson & Lee Webb: Re-presenting Pacific Art, pp. 121-160

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With black, red and white pigments, remnants of plant fiber tassles and an old collection number 135. drawn at the back of the upper protrution. With a well carved handle at the back.

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in the shape of a bird, with deeply carved curved linear patterns carving and star motifs and a small carved cilindrical opening. On the bottom one carved oval shape. With black patina.

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the open worked collomn shaped by two carved birds. The base with deep carved geometrical design and accents in lime.

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inlaid eyes with abalone shell. The object was once cut into two sections and has since been carefully rejoined.

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in crouching position, holding hands below the chin, with traditional red pigments, the drilled ears with feather pendants. The incised lines with traces of white pigments. On the bottom written in yellow NEW GUINEA.

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mounted by squatting figure and the lower part of the shaft with indented details.

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with a fine carved bone hilt, a small knife with horn hilt and the blade with copper inlay.

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the head surmounted by a crown.

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Carved by carver Sopu.

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showing a meandering pattern in blue and white beads. With boarders of orange beads and fringes with alternating orange and blue beads.

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shaped in a conical form, showing a carved fish form on the front. With remnants of pigments.

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showing three anthropomorphic dancing figures with smaller carved faces, plant fiber tassles and tjemen with anthropomorph carved face (restored)

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interesting because of an older type of carving, with traces of white pigments and the reptile skin tymmpanum intact. (handle was larger)

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with black and white pigments.

the handle with a wing shaped attachement consisting of water buffalo (Bubalus bubalis) bone- and wooden parts, the upper part decorated with finely carved scrolls.

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surmounted by a standing ancestor figure.

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constisting of four element, piled together, the basement, sendi, painted in various pigments, showing various karang motifs. A.o. bhoma and goak. The pilar showing lotus motifs in a siniuos lines and various collors.

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in the shape of a standing Bhima painted red, black and white in traditional pigments.

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Provenance: Hoogerbruggen collected in situ in the 1950's - early 1960's.

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for the God Kumara, the protector of small children. The sides delicately carved with floral motifs, the front with two carved female standing figures. The front with a central flower hart, set with blue mica. With gilded lacquer on black and red ground. On the bottom a carved flower hart in red. With four wrought iron suspenstion rings on the seat.

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the diamond shape showing several Chinese figures, birds and flowers, the central circle showing a floral spray.

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