Objects shaped by use.

This notable ironwood sculpture hails from East Borneo, created by the skilled hands of the Benuaq Dayak artisans. Standing at 112 × 22 × 23 cm, the solid sculpture portrays a man with a salamander perched on his shoulder. The carving technique shows impressive precision in the facial features, juxtaposed with coarser strokes that form the sturdy, jagged surface of the bodies.

Distinctive and unusual in its formal appearance and dimensions, this sculpture evokes similarities to portative amulets featured in publications like “Hampatongs” (pp. 40, 45, 51, 56). It is believed that this may be a rare sculpture produced for a healing ceremony, as evident from its eccentric bodily features. The figure's face appears sunken and hollow, its mouth crooked, its ear disproportionate, and intriguingly, it possesses six fingers.

These elements of formal distortion are indicative of the artist's pathos and emotional investment in the sculpted representation, a meaningful aspect within the Benuaq community.

this unusual Anthropomorphic Wand, a notable piece of art from the Benuaq Dayak community in East Borneo. Crafted from wood with a rich patina, it stands at 51 × 3.5 × 2.5 cm. The wand features a strong and robust body, while the face exudes elegance, shaped like the rising moon and framed by commanding arms and hands with long hooked fingers. A striking element above the head portrays two stylized mythical “dragon-dogs” (aso') gripping each other by the jaws, forming an intricate spiral.

This sophisticated artwork emanates a significant expressive charge, likely serving as a potent amulet with its unique and exceptional design. The wand holds an air of enigmatic symbolism, capturing the cultural depth and significance within the Benuaq Dayak tradition. Its powerful presence and intricate craftsmanship make it truly one-of-a-kind.

the notable Tuntun, a ritual stick used by hunters in pursuit of wild pig and deer. This unique tool is adorned at its top with a squatting divinity, featuring simian features. It is believed that after the carving process, the divinity is animated to aid the hunter in attracting prey to their trap.

Tuntuns exhibit a diverse array of figures on their tops, each inspired by dream-based accounts in the earlier record. This particular piece has a bulky body with a distinct monkey-like face, evoking a sense of presence and spiritual significance. A similar work can be found in Patong (p. 165), further attesting to the cultural relevance and importance of such artifacts.

The open mouth of the divinity figure serves as a powerful representation, calling out to the wild pig and deer, enticing them towards the hunter's trap. This ritual stick embodies the essence of traditional hunting practices, where belief in the aid of divine forces plays a vital role in the pursuit of success.

This Tuntun is a fascinating testament to the rich cultural heritage and spiritual beliefs of the local community. Its craftsmanship and symbolism provide a glimpse into the intricate interplay between dreams, artistry, and hunting rituals among the indigenous people of the region.

This impressive sculpture originates from the Ibanic Dayak complex in West Borneo, crafted from ironwood. Measuring 51.5 × 20 × 8.5 cm, it represents the mythical dragon-dog guardian known as Aso'. The figure is strikingly characterized by a large head featuring wide-open jaws, showcasing enormous fangs to evoke its immense force and aggressiveness.

This sculpture depicts the Aso’, a mythical creature associated with protection and strength in Ibanic Dayak culture of Borneo. The figure is stylized in a geometric manner, emphasizing abstraction over naturalism.

The work draws inspiration from the “Picasso-Aso,” a comparable example of this artistic form exhibited at the Tribal Art Fair in New York. Such representations reflect the symbolic role of guardian figures in Dayak visual traditions.

This notable hunting quiver originates from the Punan Dayak community in Central-East Borneo, crafted from wood, bamboo, rattan, and adorned with a rich patina. Measuring 40 × 9 × 6 cm, the quiver has a cylindrical shape and serves as an essential tool used by bush nomads to carry their small poisoned hunting quiver.

As documented in “Hornbill and Dragon” (pp. 142-143), quivers like this were once widespread among both nomadic tribes and hunters from settled communities. During hunting expeditions, men would attach these quivers to their loincloths, carrying their darts which were fired through long blowpipes.

What sets this quiver apart is the artful weaving of rattan that decorates and protects the surface of the lid, securing it to the bamboo cylinder. The lamp black patina covering the surface adds to its visual appeal and historical charm.

This notable wooden worktop originates from Kapang Ai in East Borneo, intricately crafted by the skilled hands of the Modang Dayak community. Measuring 69.5 × 21 × 2.5 cm, the worktop features fretwork and engravings depicting the mythical dragon-dog known as aso’. This versatile board serves as a support for various activities, including weaving vegetable fibers or glass beads.

Elaborately carved worktops like this hold significant cultural importance and are commonly used by women. They are well-documented in various catalogues, books, and collections of Dayak art. Two notable references, “Hornbill and Dragon” (p. 178) and "The Eloquent Dead" (p. 107), present different kinds of kapang ai.

The intricate fretwork and engravings on this worktop showcase the artistic expertise of the Modang Dayak people. The mythical dragon-dog design carries cultural symbolism and significance, adding to the visual presence of the piece. This Modang Dayak Worktop provides a notable connection to the artistic heritage and traditional activities of East Borneo. A work of artistry and cultural expression, this worktop stands as a testament to the rich traditions and craftsmanship of the Modang Dayak community.

This unusual magic hunting wand originates from the Tunjung Dayak community in East Borneo, crafted from wood with an alluring patina. Measuring 57.9 × 2.9 × 2.2 cm, it is a rare and exceptional example of a kelulong, featuring an anthropomorphic figure standing at the extremity of the stick.

Kelulongs hold a significant rarity, and this magic wand is a notable representation, similar to the classical kelulongs. The standing figure on the wand is characterized by a very long tongue protruding from its mouth and reaching across the torso, adding to its peculiar and distinctive appearance.

Unlike Iban magic hunting wands, kelulongs were placed next to traps for three nights and three days, with the belief that they would attract prey to the trap through their magical properties.

This particular kelulong is documented and described in detail in Patong (p. 167), standing as a unique and valuable piece of cultural heritage from the Tunjung Dayak community.

This notable magic wand hails from West Borneo, belonging to the Iban Dayak community. Crafted from wood with a complex patina, it measures 53.5 × 2.7 × 2.5 cm. Known as a Tuntun, this ritual stick is used in hunting wild pig and deer, adorned on its top with a crouching anthropomorphic figure, often representing a divinity. Once carved, this figure is believed to be activated and aid the hunter in attracting animals to his trap.

The top of the Tuntun shows several different figures, each deriving inspiration from dream-based accounts in the earlier record, contributing to its ritual presence. Its flat and markedly rectangular body is characterized by a simplified and geometric rendering, hinting at the visual comparison between ethnic art and avant-garde artists of the twentieth century.

The large spherical head with sketched-in lineaments is connected to the flat rectangular torso by a long cylindrical neck, adding to the unique and enigmatic appearance of the Tuntun. Its open mouth serves as a powerful representation, calling out to the pig and enticing it into the trap, highlighting the magical properties attributed to the wand in hunting practices.

This well-made wooden carved panel originates from Madura, crafted from teakwood. The panel features an intricate flowering carving, showcasing the artistic mastery and craftsmanship of the Maduran artisans. Adding to its presence, a striking head of a dragon is carved on the edge of the panel, symbolizing strength and protection.

This teakwood panel is a notable representation of Madura's artistic traditions and shows the seamless blend of nature-inspired motifs with mythical symbolism. Its flowering design and dragon head edge offer a complex visual appeal, making it a strong addition to any art collection or interior decor.

The craftsmanship of this wooden panel from Madura embodies the creativity and cultural significance that have been passed down through generations. It stands as a testament to the artistic legacy of Maduran artisans and the enduring beauty of their creations.

The “kaleles” is a unique and essential component of the traditional Indonesian event known as Karapan Sapi. This thrilling race involves pairs of bulls ridden by skilled jockeys called "tukang tongko," showcasing their speed, skill, and courage. The event holds deep cultural significance and has been passed down through generations, representing a testament to Indonesian heritage.

One of the distinctive features of Karapan Sapi is the “kaleles,” a sturdy bamboo construction on which the jockeys stand while riding the bulls. The "kaleles" is securely tied to the bull's hump, providing a stable platform for the jockey to stand on and skillfully steer the bull using a rope.

Intricately carved onto the “kaleles,” you will find the date and year of the event, with "2605" marking 26th May, and "61" representing the year 1961. These carvings hold historical significance and reflect the memorable moments of past races, honoring the rich tradition and history of Karapan Sapi.

The “kaleles” is an impressive example of Indonesian ingenuity and resourcefulness, as it is entirely made from locally sourced bamboo. Despite the incredible forces and speeds involved in the race, this bamboo platform shows the craftsmanship and engineering prowess of Indonesian culture.

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This notable horse riding whip originates from Timor Island, specifically Suai in Timor Leste, and belongs to the Belu people. Crafted from wood, leather, metal, glass, and cotton, the whip measures 44 cm in length with a handle diameter of approximately 4 cm. Please contact for pricing details under inventory number T.14.002.

The wooden handle of the whip is a work of art in itself, depicting a divinity in a rounded square form. Given the significance of horses in Timorese socio-economic organization, the whip's design may symbolize the higher status or function of its owner or have connections to specific ceremonial or ritual uses. The divinity figure on the handle reflects the cultural and spiritual beliefs of the Belu people, adding an element of reverence and symbolic importance to the whip.

The whip's lash is skillfully crafted from woven leather strips, ensuring its durability and functionality. While riding whips are common tools, this particular example stands out as a beautiful and rare artifact. Decorated with the representation of a divine figure, it is one of few handles known to be adorned with such intricate and meaningful imagery.

As a unique and notable piece of Timorese craftsmanship, this Belu Horse Riding Whip shows the artistic expression and cultural heritage of the Belu people. It stands as a testament to the rich traditions and beliefs associated with horses and their symbolic role in Timor Island's cultural fabric.

This well-made horse riding whip hails from Timor Island, particularly Suai in Timor Leste, and is crafted by the Belu people. Made from wood, leather, metal, glass, and cotton, the whip measures 53 cm in length with a handle diameter of approximately 4 cm. For pricing details, please contact under inventory number T.14.003.

The wooden handle of the whip features a divinity depicted in a rounded square form, exemplifying the cultural and spiritual beliefs of the Belu people. Horses hold great importance in Timorese socio-economic organization, and the design of the whip may symbolize the higher status or function of its owner, or it could have connections to specific ceremonial or ritual purposes. The presence of the divine figure on the handle adds a sense of reverence and symbolic significance to the whip.

The lash of the whip is skillfully crafted from woven leather strips, ensuring durability and functionality during use. While riding whips are commonly utilized, this particular example stands out as a beautiful and rare artifact. Adorned with a representation of a divine figure, very few handles were decorated with such intricate and meaningful imagery, making this piece truly unique.

As a testament to Timor Island's artistic expression and cultural heritage, this Belu Horse Riding Whip exemplifies the rich traditions and beliefs associated with horses and their significant role in the cultural fabric of the Belu people. Its aesthetic and cultural significance make it an unusual piece for those who appreciate the artistry and symbolism of Timorese craftsmanship.