Page 81

Layout1

79 FIG. 11 (right): Gamal and Ahia, Ulawa, 1906. Gelatin silver print on fiber paper. Musée du Quai Branly, Paris, inv. PP0194116. © Musée du Quai Branly. Photo: John Watt Beattie. by art historians, examines both the metamorphosis and the unchanging aspects of the region’s artistry. Such insights make it possible to expand our view of objects seen in museums, where they function quite differently than they did in their original contexts. BIBLIOGRAPHY Barraud, C., 1972, “De la chasse aux têtes à la pêche à la bonite. Essai sur la chefferie à Eddystone,” L’Homme, XII (1), pp. 67–104. Burt, B., 2013, “Solomon Islands: Introduction,” in L. Bolton, N. Thomas, E. Bonshek, et al. (eds.), Melanesia: Art and Encounter, British Museum Press, London, pp. 191–195. Festetics de Tolna, R., 1903, Chez les Cannibales. Huit ans de croisière dans l’Océan Pacifique à bord du yacht Le Tolna, Plon-Nourrit, Paris, pp. 351–352. Haddon, A. C. and J. Hornell, 1936, Canoes of Oceania, vols. 27, 28, 29. Bernice P. Bishop Museum, Honolulu. Hviding, E., 2014, “War Canoes of the Western Solomons,” in Ben Burt and Lissant Bolton (eds.), The Things We Value: Culture and History in Solomon Islands, Sean Kingston Publishing, Herefordshire, pp. 103–115. Pastoureau, M., 2008, Noir. Histoire d’une couleur, Éditions du Seuil, Paris. FIG. 12a and b: Charm. New Georgia. Early 20th century. Wood, shell (Tridacne), vegetal fiber. H: 75.5 cm. Musée du Quai Branly, Paris, inv. 71.1961.103.50. © Musée du Quai Branly. Photo: Claude Germain.


Layout1
To see the actual publication please follow the link above