wood painted black, yellow and red, in the form of a human head with a small drum above the forehead, and large stylised ears, each carved with motifs of a lizard and crown, with a carved lizard figure on the back of the head between the stylised ears
glass mirror in carved ornate wooded frame, fronted by three steps and flanked by two figures of women holding fans and standing on pedestals, painted in yellow, white, red, blue, green and black, the back with sunray motifs in deep yellow, red and black
WOODEN BOX DEPICTING SCENES FROM DONALD FRIEND'S LIFE, c.1972
carved teak (jati) box, with two attached feet modelled in the form of a lion and a bull. The top depicts the artist and pavilion at Batujimbar with airplane returning to Australia. The front panel shows the arrival of the artist's yellow 1928 Chevrolet with curious local villagers
wooden offering box carved in the form of a horse with single deity figure, possibly Arjuna (Pratima) painted in red with brown, black and gilt highlights
wood carved in the form of a crowned and winged dragon (naga) with the elongated stopper carved in the form of a deity, painted in vermilion with black, blue, white and gilt highlights
Panggal buaya (satinwood) carved in the form of a man wearing ceremonial dress and holding a lontar, with traces of original red, yellow and black highlights
wood carved in the form of a man wearing ceremonial dress with knees bent outwards and feet splayed, possibly Arjuna, painted in white, red and blue with black and gilt highlights
steel blade decorated on each side in relief with three standing priest figures and a winged elephant, the scabbard of wood with a modelled ivory crosspiece; the bone hilt carved in the form of a demon, raksasa, wearing a snake for a necklace
wood carved in the shape of a phallus, painted lightly in red with white highlights on a square base with four side panels carved in relief with Tantri scenes of tigers, goats and monkeys
wood carved in the form of a horse with single deity figure, possibly Arjuna (Pratima), with red, black and gilt highlights, two damaged legs repaired by Attilio
wood, each carved in the shape of crowned female face, painted in white, yellow, red, black, green and blue, with wooden stick to attach the ornament to the front of the gebogan offering. One has a painted male face on the rear
wood, the paddle carved in the form of a smiling human face painted black with traces of red highlights, the scoop with a handle in the form of a woman, and a kala face motif at base of handle
drum cylinder of nangka (jackfruit) wood, hollowed and decorated with four spotted mythological beasts on flower-sprinkled ground with Chinese style fret borders, painted with deep red, brown, green, black and vermillion paint and gilt highlights, with two metal suspension hooks
bronze, depicting Buddha in meditation on a pedestal with his left hand on his lap and right hand outstretched in bhumisparsamudra, whereby he called on earth to witness his victory over Mara, signifying his enlightenment
bronze figure of standing Buddha with robe draped across body and thrown over the left shoulder, the right shoulder bare. The robe clings to his body and reveals the forms of his torso underneath. The Buddha is making the gesture of protection or discussion with the right hand, and the left hand is in the boon bestowing gesture. He has long earlobes and the hair comes upwards to a flat cranial protuberance (usnisa)
bronze Bodhisattva with parasol seated on a round throne incised with rectangles and floral scroll. One leg crossed and right leg outstretched with open palm resting on knee. The figure is seated in the posture of 'royal ease' (lalitasana). The right hand rests on the knee in the gift-bestowing pose (vara-mudra)
bronze, each with a cup-shaped container for oil rising from a curved supporting frame ending in two legs attached to a flat decorative base. The front of each is adorned with the crowned head of a serpent (naga) whose body forms the curve of the frame. Resting on the back curve of the frame is a bull representing Nandi (the god Siwa's animal vehicle).These lamps are used in the rituals of brahman high priests
decorated with a band of chrysanthemum flowers and leaves below the rim, enclosing a central medallion of a chrysanthemum flower and leaves. The outside has a pattern of cloud designs and chocolate brown slip on base
decorated in green and red enamels on whitish glaze with deer in central band and floral scroll pattern on shoulder. The decorative metal base and lid were made in Bali
cotton with supplementary weft patterning. Yellow, red and blue on natural colour cotton base. Depicting a large ship with several creatures on deck and more animals underneath the boat
cotton with supplementary weft patterning. Reddish brown on natural colour cotton base. Depicting a large ship with a single human figure and geometric forms
cotton with supplementary weft patterning. Reddish-brown on natural colour cotton base and a blue border. The cloth depicts two ships, human figures, animals and trees
cotton with metallic yarn (mica) stitched on. Ship cloth featuring a large ship, characterised by a small hull, a central mast with sails and large projections from the prow and stern
cotton, natural dyes, weft ikat. Background of deep red, with a geometric weft ikat design set within a framing structure of stripes, bands and ikat sections. The flower pattern in the centre is made up of vertical rows of lozenges
silk, gold and silver thread, supplementary weft weave. The pink body of this silk cloth has been decorated with weft ikat in a pattern of flowers, vines and scrolls. The borders are decorated with a tumpal (triangle) design
silk, silver thread, cotton, supplementary weft weave. Checked pattern with star motifs in silver and pink weft patterns. Balinese aristocrats of the early twentieth century are often shown in photographs wearing a lower garment with these distinctive checked patterns. The large garment is two separately woven pieces joined to produce a single panel
silk, cotton and metal thread. This long violet-coloured panel features a repeated pattern arranged in a grid with an eight-pointed star and tendril motif interspersed with rosettes in dark purple, orange, green and silver threads
supplementary weft weave. Cotton plaid with silver yarns forming supplementary weft patterns in the form of an eight-pointed star motif and tumpal (triangle) design. The central band has a body of red with repeating anthromorphicfigures in a weft pattern
supplementary weft weave. Cloth plainly woven in solid pink with geometric star and diamond motifs and decorative borders. The centre field is more elaborate with a decorated floral and tumpal motif
supplementary weft weave. Plain black centre field edged with decorative border. The elongated centre field is edged with small tumpal (triangle) patterns, and small repetitive geometric motifs in the central area. The darker border areas are patterned with a series of parallel red and maroon bands containing S-shaped hooks and framed by vertical tumpal borders
supplementary weft weave. Red centre field edged with bands of black and maroon. The whole textile is covered with an alternating grid pattern of star and scroll rosettes
supplementary weft weave. Constructed of two woven panels, joined and seamed to form a tube. The large central field is decorated with weft ikat in gold thread with a design of birds and ships. This is in the Bugis or Makassar style of South Sulawesi, which became the dominant royal style in Sumbawa
supplementary weft weave. Red body decorated with repeating animal figure motif, the central panel is maroon with deer and tumpal(triangle) design in metallic thread
cotton, warp ikat. Motif in white on red (morinda root) bands, alternated with narrow bands in indigo blue. The ikat design band in white is counterbalanced by a plain area and subsidiary bands carrying smaller ikat designs
