In 1569, Spanish explorer Alvaro de Mendana de Neira reached these shores. On finding gold at the mouth of a river (currently the Mataniko River), Mendana was convinced that King Solomon's temple in Jerusalem was built from gold found on these islands. So he named the chain Solomon Islands, after the Biblical ruler of Israel.

The Solomon Islands have traditionally been inhabited by tribes whose main occupations were hunting and gathering. Even today, a majority of the population resides in the rural areas. According to historians, New Guinean hunter-gatherers made their way to the Solomon Islands as early as 25,000 BC, remaining the only inhabitants for several millennia. Things began changing in 4000 BC when proto-Melanesians moved there. Between 2000 BC and 1600 BC, the Lapita people settled here. Later still, the years between 1200 AD and 1600 AD saw the arrival of the Polynesians, though the raiding Tongans caused them much strife between the 14th and 18th centuries.

The people practiced shifting cultivation, lived in small villages and worshipped their ancestors. They were also expert fishermen and hunters, possessing knowledge of carving, canoe building and weaving. The elders laid down the rules of governance. However, the islanders were often bloodthirsty people, indulging in cannibal practices like headhunting.
Missionaries began arriving here from the mid-1800s and the Solomon Islands also became one of the important theaters of war during WWII. Following the war, the British colonial government returned to power. The islands became independent in July 1978.

Ancient TOP!!!! Fishing Hook Shell New Georgia Solomon Islands - Oceania    US $100.00

TEMA SOLOMON ISLANDS.    US $41.00

The men of the Solomon Islands in the southwestern Pacific Ocean often wore "kapkaps", a type of ornament worn around the head or chest. The kapkap was a pendant-like ornament displaying the skilled artisanship of its makers. This popular variety of ornament is found in the Solomon Islands and Papua New Guinea. Variations were also made in the Marquesas and Caroline Islands.

The kapkap is common jewelry type from the region. In the Solomon Islands, these were worn on the forehead but positioned slightly to the side. A cord or plaited headband was attached to the kapkap to hold it in place. Worn during ceremonial occasions and during battles, the kapkap was a wealth object. The ornament provided indications regarding the social and economic status of the wearer. A large kapkap made it clear that the wearer was a rich and powerful man. The value of the ornament also increased with its size.

The Solomon Islands kapkap is a shell object. Kapkaps were generally made using a white shell disc. A thin plate featuring openwork filigree was placed on top of the white disc. The white disc was usually the shell of a giant clam. Turtle shell has traditionally formed the thin overlaid upper plate for the kapkaps. Sometimes coconut shell was also used. However, in the more recent varieties, the craftsmen of the Solomon Islands have begun using plastic as well. The two disks were attached using a beaded string. Often, beads were added to symbolize greater prestige and higher status.

The carvings on the kapkaps are unfailingly intricate. There is a high level of skill involved in creating the patterns on the turtle shell. The openwork filigree on the turtle shell is very intricate. Common motifs include crosses, flowers, birds and human heads. The frigate bird motifs feature curved beaks and pronounced tails. They symbolize strength and are believed to represent spirits associated with these majestic qualities. The human heads are probably a reference to the headhunting practices of the Solomon Islands tribes. The geometric designs adorning the concentric circles on the upper disk varied across the islands, but only in the detailing.

Excellent Kapkap from New Georgia Solomon Islands Oceania    US $.99

The Rolex Perpetual DateJust is one of the most iconic timepieces created in the workshops of the Swiss watchmaker. The Rolex Perpetual DateJust watch made it to the annals of history with its launch in 1945. This timepiece became the first-ever wristwatch to feature an aperture displaying the date. In a few years following the launch, Rolex would also introduce the magnifying Cyclops eye. This unique feature later became a signature Rolex design.

The first Rolex Perpetual DateJust watch was widely regarded as being ahead of its time. The date aperture was among the new age features, but the 1945 DateJust was also waterproof and had an understated, streamlined design. The date aperture became its unique selling point. However, there was still a long way to go before the date-change mechanism could be perfected. In the initial years, the date would start changing a few hours before midnight. The 1955 DateJust featured an improved date-change mechanism. Date changing no longer took hours; it became an instant affair. The 1955 DateJust also introduced the Cyclops eye - a unique addition that magnified the date by two and a half times.

In the initial years, the Rolex Perpetual DateJust featured Oyster bezel fluting. The fluting helped screw the bezel on to the watchcase and ensured that the timepiece remained water-tight. In time, the fluting became unnecessary but retained its aesthetic appeal. It became a signature DateJust design element, showing up on yellow, white gold and Everose versions.

Three years after the initial launch, the DateJust was presented in a new two-tone gold and steel avatar, a style that was already common among Rolex wristwatches. Known as the Rolesor, the style still survives. DateJust watches are available in variations where steel combines with yellow, white or Everose gold.

The Oyster casing became another significant feature of the Rolex DateJust. Fitted by an exclusive team of experts, the hermetically sealed casing ensures that the watch remains protected from water, dust, pressure and physical shock.

The well-tested DateJust comes with COSC certification. It also has several high-profile ambassadors including singer Michael Buble, tennis star Roger Federer and champion equestrian Meredith Michaels-Beerbaum.

c.1983 Rolex Datejust 16013 18k Gold & SS Mens Watch Nice Jubilee Brac - CRISP -    US $1,025.00

Rolex lady Oyser Perpetual Datejust white 79174    US $160.50

18K & Stainless Steel Rolex Oyster Perpetual Datejust Ladies Dress Watch    US $979.97

AUTHENTIC ROLEX 1500 OYSTER PERP. CIRCA 1977 BLACK DIAL SERVICED    US $1,025.05

Rolex Oyster Perpetual Datejust Diamond Dial 18 kt Gold Stainless Watch ~ NO RES    US $535.00

Champagne string diamond dial bezel rolex date just jubilee bracelet    US $4,150.00

LADIES ROLEX OYSTER PERPETUAL DATEJUST 18K DIAMONDS    US $5,495.00

MENS ROLEX OYSTER PERPETUAL DATEJUST TWO TONE YELLOW GOLD & STAINLESS STEEL    US $3,395.00

Among the most famous oceanic weapons is the "ula" throwing club from the Fiji Islands. These beautifully constructed throwing clubs look beautiful. They bear intricate designs and carvings, and feature a range of distinct shapes and styles. The craftsmanship that goes into the making of the Fijian ula throwing clubs has made these weapons popular among collectors. At the same time, one must not forget that despite their apparent beauty, the Fiji throwing club has often proved to be a deadly weapon.

The ula throwing club from the Fiji Islands is a hardwood weapon. Uprooted shrubs and bushes were often used to build these beautiful oceanic weapons. However, only a skilled craftsman could take on such a project. Making an ula throwing club was an intricate job that required a high degree of skill.

The dense quality of the wood made this a strong and effective weapon. The distal end of the throwing club featured a bulbous head, which bore carved motifs, deep fissures and intricate designs. The motifs could also be found along the handle. The patterns decorating the Fiji throwing club bore testament to the talent of the artisan that constructed it.

Many of the available ula throwing clubs date back to the eighteenth and nineteenth centuries. In those times, the ula was the primary weapon of the Fijian people. Even during times of peace, the Fijian man would carry the ula in his fiber girdle. At times, the ulas were carried in pairs. When peace prevailed, the ula became the Fijian's favorite hunting weapon. Smaller varieties of the ula were effective in hunting small animals like flying foxes and birds. However, throwing the ula was no mean feat. The Fijians had to learn to aim the ula correctly and throw it with speed and skill.

During battles, the ula was a terrible weapon. The Fijians used the throwing club to bludgeon their enemies to death. They generally also carried a spear or a larger club to kill opponents. Fijian warriors sometimes even kept a record of their victims. Some ula bear insets of human teeth. Many have notches providing a ready tally of victims.

FINE ANTIQUE 19TH C NEW HEBRIDES OCEANIC TRIBAL ART CARVED WOODEN CLUB NO ULA    US $245.02

SUPERB ANTIQUE 19TH C FIJIAN FIJI CARVED WOODEN FLY WHISK HANDLE NO ULA CLUB    US $314.56

Oceanic Fijian Exotic Ula Wood Throwing Club    US $550.00

Powerfull classic tribal Fijian "ULA" throwing club, Polynesia end 19th century    US $999.00

EARLY FIJIAN "ULA" THROWING CLUB    US $950.00

The Aboriginal boomerang has become a much-loved symbol of Australian culture. The boomerang is famous for its unconventional shape. The selling point of this curved piece of wood is that when you throw a boomerang, it always comes right back. The popularity of this Aboriginal throwing stick is such that boomerang competitions attract plenty of contenders. The throwing stick is also a popular souvenir item for tourists.

Built largely to assist the hunting-gathering Australian Aborigine, boomerangs came in a range of different sizes. The hunter-gatherers of the desert used heavy boomerangs that were built from the wood of the mulga tree. Light boomerangs were developed along the coast of New South Wales. These lighter versions were made from the wood of local mangrove trees and largely used to hunt ducks.

A third type was the ceremonial boomerang. These were used during musical performances and during rituals. In fact, most central Aborigine languages have a special word for the rattle made by the boomerang during ceremonies. In Central Australia and the Northern Territory, the Aborigines perfected a boomerang that was used as a weapon. This hooked device would hit the shield of the enemy, then spin around and hit the shield-bearer.

Hunting boomerangs generally featured a gradual curve. These generally did not return to the thrower and would travel in a straight line. The lightweight "returning" boomerang features a sharper curve and is generally between 30 to 75 centimeters in length.

There is a special technique to throwing a boomerang. The curved stick must be held vertically, and then thrown with a spin. When launched correctly, some boomerangs can cover up to 200 meters. The wooden stick gains stability from the constant spinning motion. Without the spin, the boomerang would not remain airborne for long.

In recent times, the boomerang has inspired big inventions like the helicopter. David Unaipon studied the movements and basic principles of the flight of the boomerang when developing the movements of the helicopter. Later on, Unaipon used similar principles to build a sheep-shearing device with a centrifugal motor and a multi-radial wheel.

Engraved Aboriginal Boomerang - 1940's Flinders Ranges South Australia    US $31.00

ABORIGINAL BOOMERANG YALATA KANGAROOS LARGE MULGA EXAMPLE    US $475.00

ABORIGINAL WOOMERA WEST AUSTRALIA WITH OCHRE    US $245.00

ABORIGINAL FIGHTING BOOMERANG OLD SOUTH AUSTRALIA    US $285.00

The term "woomera" itself means "spear launcher". The woomera essentially was designed to make the spear travel faster and therefore cover a greater area. The objective was to increase the range of the spear, making it possible to snare prey animals that were further away. In a way, the woomera was created to mimic the human arm. Together, the real arm and the artificial one increased the velocity of a given spear at the time of launch.

Yet, the woomera is nothing but a simple lever that increases the rate at which a spear travels over a given distance. Many weapons experts are of the opinion that a woomera and a spear was the fastest weapon option prior to the birth of the self-loading English rifle. That in itself is testimony that the Australian Aborigines had developed an exceptional weapon that proved extremely helpful on their hunting expeditions.

The woomera became very effective in the case of large game. Smaller animals like birds, fish or rabbits could be caught easily killed with a carefully aimed spear. However, a spear alone could not snare a kangaroo, for instance. In such cases, the woomera became a handy tool. A similar device called the atlatl has been found in parts of North America as well.

The woomera was crafted out of hollow wood from hollow trees. Thus, it was a lightweight device. The user had to fit the spear on to his woomera, launch the spear and watch it speed towards the chosen target.

A well-crafted woomera had additional uses. Tools other than spears could be fitted on to the device. The Aborigines used the spear thrower to chop wood, cut branches, chisel, dig through earth and even slice meat or fish. Its compact and lightweight body made it a handy tool to carry around. Young Aboriginal men carried these tools on their person most of the time.

ABORIGINAL WOOMERA WEST AUSTRALIA WITH OCHRE    US $245.00

ABORIGINAL WOOMERA YALATA KANGAROOS LARGE MULGA EXAMPLE    US $475.00

ABORIGINAL PAINTED WOOMERA ENOS NAMATJIRA HERMANNSBURG    US $395.00

The origins of Australian Aboriginal bark paintings lie shrouded in the annals of history. It is believed that the tradition began thousands of years ago. The first known European record of the Aborigine art is credited to French artist N.M. Petit who traveled to Tasmania between 1800 and 1804 and spotted bark shelter paintings over a grave.

Subsequent records also examined various examples of bark painting. It is believed that bark paintings were formed part of daily life, though some have ceremonial and ritual significance. In particular, bark paintings are still used in Aborigine culture in northern Australia. Moreover, the people of this region and in some coastal areas continue the traditional art form.

Many bark shelter paintings found in northern Australia bear a sensibility similar to paintings on rock shelters. The paintings tell a story. They were largely intended to educate and entertain young people during the rainy season, when there was little to do but stay dry within the shelter. But the painted bark tradition extended to other forms. Funeral proceedings in Melville and Bathurst island featured baskets of painted bark. In Arnhem Land, coffins and belts featured bark painting.

The bark used is largely from the eucalyptus tree. The Aborigines generally look for suitable trees during the rainy season, when it is easier to grab the bark. The bark is then examined to ensure that it is free of termites and natural flaws. When a suitable example is found, the Aborigines cut out a sheet of bark, trim it and cure it over fire to remove moisture. Heavy weights are then placed on the bark to flatten it.

In Arnhem Land, bark painters use four natural colors - red, black, white and yellow. The reds and yellows are extracted from ochre and powdered rock, the whites from pipeclay and the blacks from charcoal. The painting itself is done using a variety of tools - feathers, human hair paintbrushes, and even wooden combs.

Since the 1960s, the Aboriginal bark paintings of Australia have begun to attract collectors from around the world. Today, these traditional masterpieces are on display in private collections and art museums.

Old Aboriginal Bark Painting Arnhem Land Milingimbi Dorothy Bennett Collection 2    US $41.00

ABORIGINAL OLD FIGHTING BOOMERANG    US $185.00

ABORIGINAL OCHRED FIGHTING BOOMERANG OLD SOUTH AUSTRALIA    US $185.00

ABORIGINAL BOOMERANG YALATA KANGAROOS LARGE MULGA EXAMPLE    US $475.00

The Asmat tribe of Papua New Guinea is famous for their carving skills. The Asmats reside in the western part of the New Guinea island. The Asmats are known for their intricately carved shields, oars and towering bis poles. The latter is used during funeral rituals.

Events such as life and death hold great significance in the lives of the Asmats. Traditionally head-hunters, the Asmats were notorious in their part of the world until as recently as the 1960s. Over recent decades, their adherence to longstanding tribal customs has decreased considerably. But acknowledging and honoring their ancestors is still an integral part of Asmat culture.

During an annual festival called the Jipae, the tribe celebrates tribe members who have passed away over the past year. The festival presents an opportunity where the living members of the tribe celebrate the deceased's journey from the realm of the living to that of the spirits.

Each year, the tribe selects a number of deceased members. Body masks or spirit costumes are named after them. Living members of the Asmat tribe are then selected to wear these costumes and take on the persona of the deceased member or jipae. Dressed in these body masks, the jipae then visit the homes and families of the deceased. This is done to reassure the deceased ancestor about the well-being of his family. When the rituals are complete, the deceased heads to the realm of the spirits. The man chosen to play his part then takes on his responsibilities.

The body mask or spirit costume worn by the impersonators during a jipae is called a doroe. Generally, three to five men work on a single doroe for several months, using plant fiber from the region's rain forests. Shell or wood is used to mark out the eyes, nose and ears. The top is crocheted, while grass fronds form the skirt and sleeves. As the masked men sway to the ritual music the grass sways to the rhythm. When the jipae ritual is complete, the doroe is symbolically killed, the grass is burned and the tops are thrown among the young sago palms. The growing sago palms symbolize the journey of the deceased to the spirit world.

The seventeenth century was a fruitful period for popular theater in Japan. It is believed to have started when a priestess named Okuni left the Shinto temple and constructed a theater in Kioto. In the years that followed, two types of popular theater developed. One was the traditional style with regular actors. The other involved puppets or Japanese marionette dolls. The seventeenth century witnessed great leaps in both areas of the dramatic arts. Much of this is credited to the presence of the aristocrats at Japanese playhouses.

The Japanese marionette theater flourished during the seventeenth century. Marionettes are essentially puppets that are controlled by wires or strings. Generally, the puppeteer remains hidden during a show. The Japanese marionette dolls are called bunraku puppets. Three puppeteers are generally required to operate each puppet. The life-sized bunraku puppets stand between two-and-a-half to four feet in height. The size depends on the gender and age of the character as well as the conventions of the puppet troupe.

In the beginning, the puppet shows featured a narrator, while the puppets enacted the incidents. Musicians were employed to play samisen music throughout the play. According to some traditions, Japanese marionette shows originally narrated the love stories of a Japanese heroine named Joruri. A chorus narrated the account, while the puppets took the stage. In time, dialogues became part of the Japanese burnaku tradition.

The popularity of these marionette dolls also gave rise to mechanical improvements. As the years went by the marionettes became more sophisticated. Soon the Japanese marionette dolls became capable of various life-like movements. They could raise their eyebrows, shift their eyeballs, move their lips as well as grip items in their hands, dance, kneel and more. But that was not all. Stage props like turntables and trap doors added to the burnaku puppet experience. Scenery became an integral part of Japanese Marionette Theater as well.

Skilled puppet-makers crafted the heads and hands of the burnaku dolls. There were separate controls for the various movable parts, ensuring that three puppeteers could control specific functions. A special costume master created traditional Japanese garments for these dolls, lining them with soft cotton.