78 FIG. 7 (left): Taboo House on Santa Anna. Voyage of Comte Festetics de Tolna, 1895. Albumen print on paper. Musée du Quai Branly, Paris, inv. PP0155990. © Musée du Quai Branly. Photo: Comte Rodolphe Festetics de Tolna. FIG. 8 (above): Storage house for the war canoes of King Ingova. Voyage of Comte Festetics de Tolna, 1895. Albumen print on paper. Musée du Quai Branly, Paris, inv. PA000179.21. © Musée du Quai Branly. Photo: Comte Rodolphe Festetics de Tolna. FIG. 9 (right): David Ngaranhui, Chief of Roas Bay, southern Malaita, 1906. Gelatin silver print on fiber paper. Musée du Quai Branly, Paris, PP0194153. © Musée du Quai Branly. Photo: John Watt Beattie. FIG. 10a and b: Ceremonial bowl. Makira. Middle of the 19th century. Wood, mother-of-pearl, shell. L: 161 cm. Musée du Quai Branly, Paris, inv. 72.84.341. © Musée du Quai Branly. Photo: Claude Germain. (Hugo Zemp and Daniel de Coppet, 1969; Pierre Maranda, 1966) further enriched the collections, at the same time revealing the transformations and reinterpretations of traditional material culture that were then underway. There has been little French collecting in the Solomon Islands since they became independent in 1978 and, with few exceptions (Cécile Barraud, 1972), the collections formerly in the Musée de l’Homme and the Musée des Arts d’Afrique et d’Océanie have been little studied or exhibited. The present exhibition at the Musée du Quai Branly sheds the first light on these collections. The catalog, which includes articles by researchers specialized in the archipelago as well as
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