We found 3951 price guide item(s) matching your search

An Aboriginal stone-carved wooden shield or 'wunda',19th century, Western Desert, Australia, coloured with natural pigments,74cm wide20cm deepCondition ReportGood patina to the handle area of the back, no losses or repairs.Notes from the vendor:Bought from Adam Prout Tribal Art, a very good tribal dealer, who had found it in a west country private collection A fine and genuine shield, excellent colour and patina, nice use around the handle, faded pigments, and a good age (19th century) One of the best Jan and I have owned over the years and a good old example 

An unusual Western Australian Aboriginal saw knife,late 19th century, Minang people, hardwood with inset possum teeth and a twine handle,21cm long, together with a modern stand (2)Provenance: From the collection of Melbourne Museum, Australia.Literature: For a similar example, see Edge Partington, 'Ethnological Album of the Pacific Islands', series III, p.129.

An Australian Aboriginal hardwood spear thrower or 'Meru',19th century, probably Western Victoria, of paddle shape, a handwritten label verso reads 'Natives, Wommera, W. Australia, J.B. Roe',57cm high, together with a modern stand (2)Provenance: The collection of James Brown Roe JP (1833-1907), Second In Command of a Government Exploratory Expedition along the Murchison River in 1858.The W J Macleay collection (H1100) has a very similar example collected by George Masters, 1869, in the Macleay Museum, University of Sydney, Australia.

An Aboriginal shell phallocrypt,19th century, North West Australian, with incised decoration,18cm longA phallocrypt is a ceremonial item worn to cover the penis; this example hangs from a belt.Condition ReportPossibly 1cm repair to the edge.

Travel - Japan & Australia  - a collection of Japanese gifts from lacquered bowls, calligraphy, gift wrapping paper to artwork and a white metal belt; Aboriginal boomerang, etc QTY.

Helen Malbunka. Women Dreaming - Bushtucker, acrylic on canvas, signed verso, 41cm x 32cm, exhibited in the Survey of Aboriginal Art Contemporary Works Exhibition, at the Bloomfield Galleries, Paddington, NSW, August 10th - September 7th 1989, with exhibition catalogue.

Books. European and Oriental art, including Mourice Raynal et al, History of Modern Painting, Matisse, Munch Rault Fauvism and Expressionism, published by Albert Skira, Geneva; Rex Battarbee, Modern Australian Aboriginal Art; Daniel Wildenstein Chardin Revised and Enlarged Edition; Ronald Millar, John Brack, and others. (12)

Two early, well used, Aboriginal boomerangs, (both af with splits and cracks) 56cm and 60cm.

Group of mixed collectables to include a hand carved Australian Aboriginal paring shield, 66cm long, a 20th century wooden tourist piece tribal spear knife and club, an air rifle, a pair of carved bird ornaments and a Jerusalem tourist piece olive wood two-part vesta case

PAUL PETER PIECH (American-British, 1920-1996) two colour lithograph - quote from John Donne poem 'What if this present were the world's last night?', signed and dated 1988, 64 x 45cmsProvenance: private collection overseas-based vendor, vendor met Piech during the 1980s through Tony Evora (creator of the iconic Che Guevara posters) and when studying at Oxford Polytechnic. In 1987, the vendor and the artist organised an exhibition to raise awareness for Survival International with a focus on Aboriginal land rights, held successfully at the Old Fire Station, Oxford. This was followed by an exhibition at Oxford Polytechnic focusing on Piech's work for Amnesty International

PAUL PETER PIECH (American-British, 1920-1996) two colour lithograph - anti-war image with quote from H Virgona, 'Thou shalt not kill? No sir, we go to war. Turn the other cheek. No sir, hit him back.... twice. Feed the poor? Ok, but build my castle first', signed and dated 1987, 65 x 45cmsProvenance: private collection overseas-based vendor, vendor met Piech during the 1980s through Tony Evora (creator of the iconic Che Guevara posters) and when studying at Oxford Polytechnic. In 1987, the vendor and the artist organised an exhibition to raise awareness for Survival International with a focus on Aboriginal land rights, held successfully at the Old Fire Station, Oxford. This was followed by an exhibition at Oxford Polytechnic focusing on Piech's work for Amnesty International

A late 19th Century hardwood aboriginal boomerang with fine chip carved animal and bird decoration

THREE AUSTRALIAN ABORIGINAL WOODEN MINIATURE SPEAR THROWERS (WOOMERA'S) WITH BONE BARBS, A SMALL WOODEN KNIFE AND A MINIATURE BOOMERANG

James Egan (Australian 1929-2017): Portrait of an Australian Aboriginal, oil on leather/hide indistinctly signed and titled, labelled verso 49cm x 31cm

MIJ MCFARLANE - Three textile landscapes and an Aboriginal artwork by John Smith Gumbula Condition Report:Not available for this lot.

20th Century Aboriginal school, oil on canvas, inscribed verso ' Honey Ant Dreaming ' Sammy Rubuntja, 16ins x 20ins, unframed, together with another, inscribed verso Raymond Delaney, ' Travelling North ', 11ins x 31.5ins

20th Century Aboriginal school oil on canvas, signed Jungala, 35ins x 24.5ins, together with another similar, smaller and another, unsignedBoth are in good condition. No damage or problems

20th century Aboriginal school Untitled Abstract, oil on canvas, unsigned, unframed, 119cm x 60cm together with another similar example, indistinctly signed to reverse, unframed, 91cm x 91cm (2)First item: General wear, minor losses and abrasions to corners and edges as expected, otherwise seems ok, minor indentations in places; Second item: with minor wear, abrasions and slight scuffs to corners and edges as expected, minor indentations in places otherwise in good condition.

Murdie Nampijinpa Morris (b.1934) Untitled Aboriginal abstract, oil on linen canvas, signed to reverse, unframed, 106cm x 122cmMinimal wear, scuffs and marks to edges and corners as expected, slight fraying to raw edges to reverse, slight marks but generally in good condition.

 Aboriginal style print and a old reproduction map of Paris (2) 

An Aboriginal didgeridoo, with applied coloured dot detailing of a lizard, 130cm long.

Carved Aboriginal type narrow shield L83cm

An aboriginal oil on canvas, unframed, 56 x 107cm

AUSTRALIAN INTEREST BOOKS - a box of books on Australia to include Aboriginal interest and a box relating to the South Sea Islands etc. (2 boxes) (Boxes and trays not included)

Didgeridoo painted with Aboriginal design, L: 127 cm. Not available for in-house P&P

A MIXED LOT TO INCLUDE BOOMERANGS, ABORIGINAL STYLE STICKS, A WOODEN INK HOLDER, SHELL TRINKET BOX, ETC

Aboriginal fish tail paddle club (Rainforest sword), with shaped grip, 147.5cm long and 13.5cm wide.CONDITION REPORT: There are prominent areas of staining, mainly areas of black.  Scores/marks all over.  Age-related chips, mainly to the edges.  Further chip s to the end.  There is a nail through the lower part also. Has small paint flecks in areas. 

Aboriginal carved club/stick (Nula-Nula) with incised markings to the tip, 82cm long, and an Aboriginal carved club, possible origin Queensland, with scrolls and markings to the shaft and grip, 59.5cm long.  (2)

Collection of mainly Ethnic Carved Figures including Wooden and Stone plus Two Aboriginal Boomerangs and a Wooden Model Boat

Basil [Basel] Rantji (Australian Aboriginal 1936-1999): Ghost Gum Tree in the MacDonnell Ranges, watercolour signed 36cm x 25cm

Two Aboriginal Boomerangs both with decoration largest length 62cm(2)

Antique Indigenous Aboriginal Weapons including: Boomerang with incised decoration (107cm drilled for wall mounting), incised spear thrower (74cm), fluted club (71cm), death stick with carved twist decoration (50cm) & whip (4)

AN ABORIGINAL STYLE PAINTING On textile, depicting two figures and lizards 65cm H x 52cm W including frame Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Aboriginal Art: Doris Gingingara (Maningrida, 1946-99), "Bush Tucker" (Manbanda), limited edition silk screen print, ed. 17/95, signed in pencil, framed. 60cm by 42cm

Three Wijikura emu eggs, painted with Australian Aboriginal art, signed, each boxed with C of A's, approx. 14cm (3)Condition report:All in good condition

A Traditional Aboriginal Didgeridoo, 120cm long.

An aboriginal bark painting by 'Waigan' 58 x 27cm

Preston, Margaret Rose (1875-1963) A View of the Irish Coast (1914) Oil on canvasSigned and dated, lower right: 'M. R. Macpherson / 1914' Depicted here is Bonmahon, Ireland where Preston and her artist companion Gladys Reynell worked in the summer of 1914-15 (and at other times). There is a postcard of an almost identical scene as the painting depicting the road leading down to the beach between the cottages. Preston sent a copy of this postcard to Edith Collier (a New Zealand artist friend) in 1914. There is also an etching of Bonmahon by Preston (see https://www.artgallery.nsw.gov.au/collection/works/DA42.1964/).Margaret Rose Preston was the pioneer of Australian 'national art' and the leading Australian modernist of the 20th century. She is highly regarded for her explorations, as a non-native artist, of Aboriginal motifs in her work.She lived with her close friend, Gladys Reynell, in London, Paris and Brittany between 1912 and 1914, where she was enjoying her new-found European celebrity as a painter of significant consequence. She married her husband, William Preston, in 1919. Provenance:Acquired by the grandmother of the current owner in the 1950s [the grandmother was a great collector of the works of female artists] Property of a Lady of Title Dimensions:(Frame) 18.25 (H) x 21.25 in. (W)(Canvas) 14.75 (H) x 17.5 in. (W) We would like to acknowledge Roger Butler's contributions to the cataloguing of this painting.

Preston, Margaret Rose (1875-1963)A View of the Shore (Bonmahon, Ireland) (1913)Oil on canvasSigned and dated, lower right: M. R. Macpherson / 1913 Depicted here is Bonmahon, Ireland where Preston and her artist companion Gladys Reynell worked in the summer of 1914-15 (and at other times). There is a postcard of an almost identical scene as the painting depicting the road leading down to the beach between the cottages. Preston sent a copy of this postcard to Edith Collier (a New Zealand artist friend) in 1914. There is also an etching of Bonmahon by Preston (see https://www.artgallery.nsw.gov.au/collection/works/DA42.1964/).Margaret Rose Preston was the pioneer of Australian 'national art' and the leading Australian modernist of the 20th century. She is highly regarded for her explorations, as a non-native artist, of Aboriginal motifs in her work. She lived with her close friend, Gladys Reynell, in London, Paris and Brittany between 1912 and 1914, where she was enjoying her new-found European celebrity as a painter of significant consequence. She married her husband, William Preston, in 1919. Provenance:Acquired by the grandmother of the current owner in the 1950s [the grandmother was a great collector of the works of female artists] Property of a Lady of Title Dimensions:(Frame) 18.25 (H) x 21.5 in. (W)(Canvas) 17.75 (H) x 14.5 in. (W) We would like to acknowledge Roger Butler's contributions to the cataloguing of this painting.

Aboriginal club and staff, club L: 46 cm, staff L: 90 cm. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

Janet Forrester Ngala (Australian, Aboriginal) c.1954, acrylic on canvas, Abstract seed pattern, 91 x 130cm

Aboriginal wooden fighting stick of tapering ribbed form, 42cm

Aboriginal bone reliquary, 6cm

A small collection of items: Ronson Flo-line chrome lighter in original box with cleaning equipment, horn hair comb, "Great Yarmouth" postal ruler, amber cheroot holder (gold collar removed), decorated treen item (Tribal/Aboriginal)

A 19th century Aboriginal club with a carved pineapple head, a tapering fluted body and a hatched handle, 62cm in lengthFive pineapple knops damaged, natural splitting to the wood

Carved Aboriginal type narrow shield L83cm

TWO OCEANIC AUSTRALIAN ABORIGINAL EARLY 20TH CENTURY HUNTING BOOMERANGS, with carved designs, longest W 63 cm (2)

MATCHBOX LABELS, unused packet labels, inc. Spade, Taj Mahal, Gun, Australian Aboriginal, Ponnappa, Valimark, Mayil, Shark, The Puck, Leaf Cutter, Neck Rose, Ploughman, Cavalier, Dingee, Mug, Copws Head, Golden Horse, Vulcan, Medal etc., generally EX, 85*

An Early 20th Century Australian Aboriginal Waddy, with elongated and pointed ovoid head, tapering haft, the grip with a small amount of stone chiselled decoration, 69.5cm; a 19th Century Shona Axe, with small triangular steel blade, the tang inserted through the swollen head of the tapering wood haft, 66cm; a Yoruba, Nigeria Ornamental Hair Comb, with figural handle over ten thick tapering tines, 36cm; a South American Wood Stirrup, of curved bent wood incised with two bands of horizontal flutes (4)

Eight Late 20th Century Australian Aboriginal Artefacts, comprising three small wood spear throwers (woomeras) with bone spikes, a small boomerang, a dark wood waddy, two clubs with stone heads and a pointelist painting in a glazed frame; also, an African ostrich egg incised with a dragonfly, a small carved wood figure of a native, two abalone shells, an ebony hair comb, an Inuit soapstone carving of a walrus, a carved greenstone Totemic figure etc

An Australian Aboriginal broach.

A miscellany of objects, including an Aboriginal carved snake, a tribal carved bowl, a vintage tape measure and vintage hand brace (drill), and a corkscrew etc (a lot)

Binyinyuwuy Djarrankuykuy, Australian (1928-1985), "Djalambu', A Watering Hole, with Water Goanna and File Snakes, Aboriginal 'Dreamtime' ceremonial story painted on bark, circa 1975, 61cm x 30cm (see Highlights)Binyinyuway was born in central Arnhem Land in Australia and lived for much of his early life on the remote island off the Arnhem Land coast, Milingimbi. He also served in WWII to protect the Northern Coasts from Japanese invasion. He was a man of high tribal authority and is known for his portrayal of important Aboriginal ceremony on bark as a media. The example here is typical of his output.

Wenton Rubuntja, Australian (1926-2005), Snake Initiation, acrylic on canvas, circa 1987, 93cm x 122cm. Wenton Rubuntja was a popular Aboriginal / First Nation artist and many of his works relate to 'dreaming' and other tribal ceremonies.Rubuntja was born near Alice Springs, Australia. He is known for his desert 'dot' style and was appointed a member of the 'Order of Australia' in 1995

Pansy Napangardi, Australian, (c.1948-), Untitled, acrylic on canvas, signed verso: Pansy, 183cm x 122cm. Pansy is considered one of the most interesting late 20th century Aboriginal/ First Nation artists and her large abstract 'dreaming'  canvases are well known. She is associated with the Jukurrpa group of women artists in Alice Springs. Her art is widely collected and is found in National Galleries in Australia.

Aboriginal art Northern Australia, a turned hardwood fire stick or drill of slightly tapering form, length 73cm.Provenance: From the Estates of Constance Mary Hazeldine (Hazel) Wheeler (nee Roberts) and Vincent Harold Roberts (Harry), born 18th November 1887. Thence by family descent. Harry Roberts served in the 9th Australian Light Horse from 26 October 1914 - 12 June 1919. Harry had a smallholding south of Melrose, in the Flinders Ranges, South Australia, with his wife Winifred. Sadly Winifred died, leaving Harry with their three very young daughters. Not knowing how to cope, Harry travelled by ship to visit his relatives in the U.K. It was decided that his niece, Constance Mary Hazeldine (Hazel) Wheeler (nee Roberts) would travel back with them to Australia to help look after her young cousins, her uncle and the smallholding. Hazel was just 16 years old. They set sail in 1928. Hazel stayed in Australia with her cousins and uncle for approximately 3 years. After which time Harry sold his smallholding and they all returned to the U.K. Harry and Hazel acquired and owned these Aboriginal artefacts while in Australia and brought them back upon their return to the U.K. The Aboriginal items are understood to be from the Arrernte People or Arunta tribe of the Arrernte Lands (Alice Springs) of the Northern Territory in Australia. Some were exhibited at the Budleigh Salterton Museum in Devon in 1984.

Aboriginal art Northern Australia, wood carved spear shield with traces of natural pigment colouring, height 64cm width 19.5cm.Provenance: From the Estates of Constance Mary Hazeldine (Hazel) Wheeler (nee Roberts) and Vincent Harold Roberts (Harry), born 18th November 1887. Thence by family descent. Harry Roberts served in the 9th Australian Light Horse from 26 October 1914 - 12 June 1919. Harry had a smallholding south of Melrose, in the Flinders Ranges, South Australia, with his wife Winifred. Sadly Winifred died, leaving Harry with their three very young daughters. Not knowing how to cope, Harry travelled by ship to visit his relatives in the U.K. It was decided that his niece, Constance Mary Hazeldine (Hazel) Wheeler (nee Roberts) would travel back with them to Australia to help look after her young cousins, her uncle and the smallholding. Hazel was just 16 years old. They set sail in 1928. Hazel stayed in Australia with her cousins and uncle for approximately 3 years. After which time Harry sold his smallholding and they all returned to the U.K. Harry and Hazel acquired and owned these Aboriginal artefacts while in Australia and brought them back upon their return to the U.K. The Aboriginal items are understood to be from the Arrernte People or Arunta tribe of the Arrernte Lands (Alice Springs) of the Northern Territory in Australia. Some were exhibited at the Budleigh Salterton Museum in Devon in 1984.

A good print depicting an Aboriginal Warrior.

Janbal Aboriginal watercolour and gouache study of a turtle, signed lower right 29 x 22cm, in black frame

ELEVEN OPEN EDITION L.S.LOWRY COLOUR PRINTS IN NINE FRAMES, titles include V.E. Day Celebrations, size range from 9.5cm x 12.5cm to 49cm x 60cm, together with a four signed David Shepherd prints, a print on fabric of an Alsatian, a piece of Aboriginal art, colour print of a farrier at work, etc (1 box and six loose prints)