NOTES 1. Some of these objects have been displayed at the Musée des Beaux-Arts of Montreal since their presentation in the Afrique Sacrée exhibition. 2. Most of Reverend Sheppard’s personal collection was acquired by the Hampton University Museum in Virginia in 1911. This institution was the first to offer educational opportunities to emancipated slaves and American Indians. 3. Reverend Walter T. Currie, nicknamed the Canadian Livingstone, is the most eloquent example of this trend. By the time of his death in 1915, he had amassed a considerable number of “curios” collected in the course of his tireless evangelical tours, most notably in Angola. 4. These events do not appear to have resulted in the publication of catalogs or any other written records that might make it possible to determine their perspectives or the nature of the pieces that were presented. Related to this, it should be emphasized that Cleveland Morgan was the one who initially made contact with Segy. While the MBAM did host the exhibition, it actually was held under the supervision of John Steegman (Morgan resigned in 1956) and with the sponsorship of the National Gallery of Canada. Mrs. Blanchette of the MBAM’s archives department reminded us that the exhibition was presented in several cities (personal communication). 5. This openness undoubtedly stems from the fact that Canada had no historic ties with specific African countries like Belgium had with the Congo or France had with Côte d’Ivoire, that would have influenced the taste of its collectors. 6. Beginning at this date, the Frum Collection became internationally known because of loans to international exhibitions at prestigious institutions such as the Museum Rietberg in Zurich; the Musée du Quai Branly and the Musée Dapper in Paris; the NMAA in Washington DC; and, in New York, the Guggenheim and MOMA. 7. This shift was already underway in Europe. 8. In the years since this donation was made in 1984, the museum has sought to give the objects exposure by organizing a series of monographic exhibitions devoted to the sculptural arts of sub- Saharan Africa. 108 FIG. 12 (left): Headcrest for the Lefem Society. Bangwa, Grasslands, Cameroon. Wood, sooty patina. H: 76 cm. Guy Laliberté Collection, Montreal. FIG. 14 (right): Male figure seated on a stool, tintam. Dogon, central northern Bandiagara Plateau, Mali. 17th–18th century. Wood, metal. H: 94 cm. Collection of the Musée des Beaux-Arts de Montréal. FIG. 11 (above): Female mask, mmwo. Igbo, Nigeria. 19th –20th century. Wood, pigment. H: 22 cm. Collection of the Musée des Beaux-Arts de Montréal. FIG. 13 (below): Installation view of Afrique Sacrée at the Musée des Beaux-Arts de Montréal, 2006.
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